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

Sunday, February 23, 2025

The Birthmark By Nathaniel Hawthorne

 



The Birthmark


By Nathaniel Hawthorne 


Foreword

Nathaniel Hawthorne’s The Birthmark is a haunting tale that blends gothic horror with philosophical inquiry, exploring themes of perfection, human ambition, and the dangers of scientific overreach. First published in 1843, this short story remains a powerful commentary on the consequences of man’s relentless pursuit of flawlessness—both in nature and in human relationships.

Set in an era of burgeoning scientific discovery, The Birthmark follows Aylmer, a brilliant but obsessive scientist, and his wife, Georgiana, whose only physical imperfection—a small, hand-shaped birthmark on her cheek—becomes the object of Aylmer’s fixation. His desire to erase this perceived flaw drives the narrative into a chilling examination of love, control, and the limits of human knowledge.

Hawthorne, known for his dark romanticism and exploration of moral conflict, crafts a story that feels timeless in its warning. As modern science continues to push the boundaries of genetic engineering, artificial intelligence, and cosmetic enhancement, The Birthmark serves as a cautionary tale about the unintended consequences of our quest for perfection.

This story invites readers to reflect: At what cost do we seek to improve upon nature? And what does it truly mean to love someone—flaws and all? Hawthorne’s keen insight into human nature ensures that The Birthmark remains as compelling today as it was when it first appeared in The Pioneer magazine over a century and a half ago.

Olivia Salter

02/23/2025


In the latter part of the last century there lived a man of science, an eminent proficient in every branch of natural philosophy, who not long before our story opens had made experience of a spiritual affinity more attractive than any chemical one. He had left his laboratory to the care of an assistant, cleared his fine countenance from the furnace smoke, washed the stain of acids from his fingers, and persuaded a beautiful woman to become his wife. In those days when the comparatively recent discovery of electricity and other kindred mysteries of Nature seemed to open paths into the region of miracle, it was not unusual for the love of science to rival the love of woman in its depth and absorbing energy. The higher intellect, the imagination, the spirit, and even the heart might all find their congenial aliment in pursuits which, as some of their ardent votaries believed, would ascend from one step of powerful intelligence to another, until the philosopher should lay his hand on the secret of creative force and perhaps make new worlds for himself. We know not whether Aylmer possessed this degree of faith in man's ultimate control over Nature. He had devoted himself, however, too unreservedly to scientific studies ever to be weaned from them by any second passion. His love for his young wife might prove the stronger of the two; but it could only be by intertwining itself with his love of science, and uniting the strength of the latter to his own.

Such a union accordingly took place, and was attended with truly remarkable consequences and a deeply impressive moral. One day, very soon after their marriage, Aylmer sat gazing at his wife with a trouble in his countenance that grew stronger until he spoke. "Georgiana," said he, "has it never occurred to you that the mark upon your cheek might be removed?" "No, indeed," said she, smiling; but perceiving the seriousness of his manner, she blushed deeply. "To tell you the truth it has been so often called a charm that I was simple enough to imagine it might be so." "Ah, upon another face perhaps it might," replied her husband; "but never on yours. No, dearest Georgiana, you came so nearly perfect from the hand of Nature that this slightest possible defect, which we hesitate whether to term a defect or a beauty, shocks me, as being the visible mark of earthly imperfection." "Shocks you, my husband!" cried Georgiana, deeply hurt; at first reddening with momentary anger, but then bursting into tears. "Then why did you take me from my mother's side? You cannot love what shocks you!"

To explain this conversation it must be mentioned that in the centre of Georgiana's left cheek there was a singular mark, deeply interwoven, as it were, with the texture and substance of her face. In the usual state of her complexion--a healthy though delicate bloom--the mark wore a tint of deeper crimson, which imperfectly defined its shape amid the surrounding rosiness. When she blushed it gradually became more indistinct, and finally vanished amid the triumphant rush of blood that bathed the whole cheek with its brilliant glow. But ifany shifting motion caused her to turn pale there was the mark again, a crimson stain upon the snow, in what Aylmer sometimes deemed an almost fearful distinctness. Its shape bore not a little similarity to the human hand, though of the smallest pygmy size. Georgiana's lovers were wont to say that some fairy at her birth hour had laid her tiny hand upon the infant's cheek, and left this impress there in token of the magic endowments that were to give her such sway over all hearts. Many a desperate swain would have risked life for the privilege of pressing his lips to the mysterious hand. It must not be concealed, however, that the impression wrought by this fairy sign manual varied exceedingly, according to the difference of temperament in the beholders. Some fastidious persons--but they were exclusively of her own sex--affirmed that the bloody hand, as they chose to call it, quite destroyed the effect of Georgiana's beauty, and rendered her countenance even hideous. But it would be as reasonable to say that one of those small blue stains which sometimes occur in the purest statuary marble would convert the Eve of Powers to a monster. Masculine observers, if the birthmark did not heighten their admiration, contented themselves with wishing it away, that the world might possess one living specimen of ideal loveliness without the semblance of a flaw. After his marriage,--for he thought little or nothing of the matter before,--Aylmer discovered that this was the case with himself.

Had she been less beautiful,--if Envy's self could have found aught else to sneer at,--he might have felt his affection heightened by the prettiness of this mimic hand, now vaguely portrayed, now lost, now stealing forth again and glimmering to and fro with every pulse of emotion that throbbed within her heart; but seeing her otherwise so perfect, he found this one defect grow more and more intolerable with every moment of their united lives. It was the fatal flaw of humanity which Nature, in one shape or another, stamps ineffaceably on all her productions, either to imply that they are temporary and finite, or that their perfection must be wrought by toil and pain. The crimson hand expressed the ineludible gripe in which mortality clutches the highest and purest of earthly mould, degrading them into kindred with the lowest, and even with the very brutes, like whom their visible frames return to dust. In this manner, selecting it as the symbol of his wife's liability to sin, sorrow, decay, and death, Aylmer's sombre imagination was not long in rendering the birthmark a frightful object, causing him more trouble and horror than ever Georgiana's beauty, whether of soul or sense, had given him delight.

At all the seasons which should have been their happiest, he invariably and without intending it, nay, in spite of a purpose to the contrary, reverted to this one disastrous topic. Trifling as it at first appeared, it so connected itself with innumerable trains of thought and modes of feeling that it became the central point of all. With the morning twilight Aylmer opened his eyes upon his wife's face and recognized the symbol of imperfection; and when they sat together at the evening hearth his eyes wandered stealthily to her cheek, and beheld, flickering with the blaze of the wood fire, the spectral hand that wrote mortality where he would fain have worshipped. Georgiana soon learned to shudder at his gaze. It needed but a glance with the peculiar expression that his face often wore to change the roses of her cheek into a deathlike paleness, amid which the crimson hand was brought strongly out, like a bass-relief of ruby on the whitest marble.

Late one night when the lights were growing dim, so as hardly to betray the stain on the poor wife's cheek, she herself, for the first time, voluntarily took up the subject.

"Do you remember, my dear Aylmer," said she, with a feeble attempt at a smile, "have you any recollection of a dream last night about this odious hand?"

"None! none whatever!" replied Aylmer, starting; but then he added, in a dry, cold tone, affected for the sake of concealing the real depth of his emotion, "I might well dream of it; for before I fell asleep it had taken a pretty firm hold of my fancy."

"And you did dream of it?" continued Georgiana, hastily; for she dreaded lest a gush of tears should interrupt what she had to say. "A terrible dream! I wonder that you can forget it. Is it possible to forget this one expression?--'It is in her heart now; we must have it out!' Reflect, my husband; for by all means I would have you recall that dream."The mind is in a sad state when Sleep, the all-involving, cannot confine her spectres within the dim region of her sway, but suffers them to break forth, affrighting this actual life with secrets that perchance belong to a deeper one. Aylmer now remembered his dream. He had fancied himself with his servant Aminadab, attempting an operation for the removal of the birthmark; but the deeper went the knife, the deeper sank the hand, until at length its tiny grasp appeared to have caught hold of Georgiana's heart; whence, however, her husband was inexorably resolved to cut or wrench it away.

When the dream had shaped itself perfectly in his memory, Aylmer sat in his wife's presence with a guilty feeling. Truth often finds its way to the mind close muffled in robes of sleep, and then speaks with uncompromising directness of matters in regard to which we practise an unconscious self-deception during our waking moments. Until now he had not been aware of the tyrannizing influence acquired by one idea over his mind, and of the lengths which he might find in his heart to go for the sake of giving himself peace.

"Aylmer," resumed Georgiana, solemnly, "I know not what may be the cost to both of us to rid me of this fatal birthmark. Perhaps its removal may cause cureless deformity; or it may be the stain goes as deep as life itself. Again: do we know that there is a possibility, on any terms, of unclasping the firm gripe of this little hand which was laid upon me before I came into the world?"

"Dearest Georgiana, I have spent much thought upon the subject," hastily interrupted Aylmer. "I am convinced of the perfect practicability of its removal."

"If there be the remotest possibility of it," continued Georgiana, "let the attempt be made at whatever risk.

Danger is nothing to me; for life, while this hateful mark makes me the object of your horror and disgust,--life is a burden which I would fling down with joy. Either remove this dreadful hand, or take my wretched life! You have deep science. All the world bears witness of it. You have achieved great wonders. Cannot you remove this little, little mark, which I cover with the tips of two small fingers? Is this beyond your power, for the sake of your own peace, and to save your poor wife from madness?"

"Noblest, dearest, tenderest wife," cried Aylmer, rapturously, "doubt not my power. I have already given this matter the deepest thought--thought which might almost have enlightened me to create a being less perfect than yourself. Georgiana, you have led me deeper than ever into the heart of science. I feel myself fully competent to render this dear cheek as faultless as its fellow; and then, most beloved, what will be my triumph when I shall have corrected what Nature left imperfect in her fairest work! Even Pygmalion, when his sculptured woman assumed life, felt not greater ecstasy than mine will be."

"It is resolved, then," said Georgiana, faintly smiling. "And, Aylmer, spare me not, though you should find the birthmark take refuge in my heart at last."

Her husband tenderly kissed her cheek--her right cheek--not that which bore the impress of the crimson hand.

The next day Aylmer apprised his wife of a plan that he had formed whereby he might have opportunity for the intense thought and constant watchfulness which the proposed operation would require; while Georgiana, likewise, would enjoy the perfect repose essential to its success. They were to seclude themselves in the extensive apartments occupied by Aylmer as a laboratory, and where, during his toilsome youth, he had made discoveries in the elemental powers of Nature that had roused the admiration of all the learned societies in Europe. Seated calmly in this laboratory, the pale philosopher had investigated the secrets of the highest cloud region and of the profoundest mines; he had satisfied himself of the causes that kindled and kept alive the fires of the volcano; and had explained the mystery of fountains, and how it is that they gush forth, some so bright and pure, and others with such rich medicinal virtues, from the dark bosom of the earth. Here, too, at an earlier period, he had studied the wonders of the human frame, and attempted to fathom the very process by which Nature assimilates all her precious influences from earth and air, and from the spiritual world, to create and foster man, her masterpiece. The latter pursuit, however, Aylmer had long laid aside in unwilling recognition of the truth--against which all seekers sooner or later stumble--thatour great creative Mother, while she amuses us with apparently working in the broadest sunshine, is yet severely careful to keep her own secrets, and, in spite of her pretended openness, shows us nothing but results. She permits us, indeed, to mar, but seldom to mend, and, like a jealous patentee, on no account to make. Now, however, Aylmer resumed these half-forgotten investigations; not, of course, with such hopes or wishes as first suggested them; but because they involved much physiological truth and lay in the path of his proposed scheme for the treatment of Georgiana.

As he led her over the threshold of the laboratory, Georgiana was cold and tremulous. Aylmer looked cheerfully into her face, with intent to reassure her, but was so startled with the intense glow of the birthmark upon the whiteness of her cheek that he could not restrain a strong convulsive shudder. His wife fainted.

"Aminadab! Aminadab!" shouted Aylmer, stamping violently on the floor.

Forthwith there issued from an inner apartment a man of low stature, but bulky frame, with shaggy hair hanging about his visage, which was grimed with the vapors of the furnace. This personage had been Aylmer's underworker during his whole scientific career, and was admirably fitted for that office by his great mechanical readiness, and the skill with which, while incapable of comprehending a single principle, he executed all the details of his master's experiments. With his vast strength, his shaggy hair, his smoky aspect, and the indescribable earthiness that incrusted him, he seemed to represent man's physical nature; while Aylmer's slender figure, and pale, intellectual face, were no less apt a type of the spiritual element.

"Throw open the door of the boudoir, Aminadab," said Aylmer, "and burn a pastil."

"Yes, master," answered Aminadab, looking intently at the lifeless form of Georgiana; and then he muttered to himself, "If she were my wife, I'd never part with that birthmark."

When Georgiana recovered consciousness she found herself breathing an atmosphere of penetrating fragrance, the gentle potency of which had recalled her from her deathlike faintness. The scene around her looked like enchantment. Aylmer had converted those smoky, dingy, sombre rooms, where he had spent his brightest years in recondite pursuits, into a series of beautiful apartments not unfit to be the secluded abode of a lovely woman. The walls were hung with gorgeous curtains, which imparted the combination of grandeur and grace that no other species of adornment can achieve; and as they fell from the ceiling to the floor, their rich and ponderous folds, concealing all angles and straight lines, appeared to shut in the scene from infinite space. For aught Georgiana knew, it might be a pavilion among the clouds. And Aylmer, excluding the sunshine, which would have interfered with his chemical processes, had supplied its place with perfumed lamps, emitting flames of various hue, but all uniting in a soft, impurpled radiance. He now knelt by his wife's side, watching her earnestly, but without alarm; for he was confident in his science, and felt that he could draw a magic circle round her within which no evil might intrude.

"Where am I? Ah, I remember," said Georgiana, faintly; and she placed her hand over her cheek to hide the terrible mark from her husband's eyes.

"Fear not, dearest!" exclaimed he. "Do not shrink from me! Believe me, Georgiana, I even rejoice in this single imperfection, since it will be such a rapture to remove it."

"Oh, spare me!" sadly replied his wife. "Pray do not look at it again. I never can forget that convulsive shudder."

In order to soothe Georgiana, and, as it were, to release her mind from the burden of actual things, Aylmer now put in practice some of the light and playful secrets which science had taught him among its profounder lore. Airy figures, absolutely bodiless ideas, and forms of unsubstantial beauty came and danced before her, imprinting their momentary footsteps on beams of light. Though she had some indistinct idea of the method of these optical phenomena, still the illusion was almost perfect enough to warrant the belief that her husband possessed sway over the spiritual world. Then again, when she felt a wish to look forth from her seclusion, immediately, as if her thoughts were answered, the procession of external existenceflitted across a screen. The scenery and the figures of actual life were perfectly represented, but with that bewitching, yet indescribable difference which always makes a picture, an image, or a shadow so much more attractive than the original. When wearied of this, Aylmer bade her cast her eyes upon a vessel containing a quantity of earth. She did so, with little interest at first; but was soon startled to perceive the germ of a plant shooting upward from the soil. Then came the slender stalk; the leaves gradually unfolded themselves; and amid them was a perfect and lovely flower.

"It is magical!" cried Georgiana. "I dare not touch it."

"Nay, pluck it," answered Aylmer,--"pluck it, and inhale its brief perfume while you may. The flower will wither in a few moments and leave nothing save its brown seed vessels; but thence may be perpetuated a race as ephemeral as itself."

But Georgiana had no sooner touched the flower than the whole plant suffered a blight, its leaves turning coal-black as if by the agency of fire.

"There was too powerful a stimulus," said Aylmer, thoughtfully.

To make up for this abortive experiment, he proposed to take her portrait by a scientific process of his own invention. It was to be effected by rays of light striking upon a polished plate of metal. Georgiana assented; but, on looking at the result, was affrighted to find the features of the portrait blurred and indefinable; while the minute figure of a hand appeared where the cheek should have been. Aylmer snatched the metallic plate and threw it into a jar of corrosive acid.

Soon, however, he forgot these mortifying failures. In the intervals of study and chemical experiment he came to her flushed and exhausted, but seemed invigorated by her presence, and spoke in glowing language of the resources of his art. He gave a history of the long dynasty of the alchemists, who spent so many ages in quest of the universal solvent by which the golden principle might be elicited from all things vile and base.

Aylmer appeared to believe that, by the plainest scientific logic, it was altogether within the limits of possibility to discover this long-sought medium; "but," he added, "a philosopher who should go deep enough to acquire the power would attain too lofty a wisdom to stoop to the exercise of it." Not less singular were his opinions in regard to the elixir vitae. He more than intimated that it was at his option to concoct a liquid that should prolong life for years, perhaps interminably; but that it would produce a discord in Nature which all the world, and chiefly the quaffer of the immortal nostrum, would find cause to curse.

"Aylmer, are you in earnest?" asked Georgiana, looking at him with amazement and fear. "It is terrible to possess such power, or even to dream of possessing it."

"Oh, do not tremble, my love," said her husband. "I would not wrong either you or myself by working such inharmonious effects upon our lives; but I would have you consider how trifling, in comparison, is the skill requisite to remove this little hand."

At the mention of the birthmark, Georgiana, as usual, shrank as if a redhot iron had touched her cheek.

Again Aylmer applied himself to his labors. She could hear his voice in the distant furnace room giving directions to Aminadab, whose harsh, uncouth, misshapen tones were audible in response, more like the grunt or growl of a brute than human speech. After hours of absence, Aylmer reappeared and proposed that she should now examine his cabinet of chemical products and natural treasures of the earth. Among the former he showed her a small vial, in which, he remarked, was contained a gentle yet most powerful fragrance, capable of impregnating all the breezes that blow across a kingdom. They were of inestimable value, the contents of that little vial; and, as he said so, he threw some of the perfume into the air and filled the room with piercing and invigorating delight.

"And what is this?" asked Georgiana, pointing to a small crystal globe containing a gold-colored liquid. "It is so beautiful to the eye that I could imagine it the elixir of life.""In one sense it is," replied Aylmer; "or, rather, the elixir of immortality. It is the most precious poison that ever was concocted in this world. By its aid I could apportion the lifetime of any mortal at whom you might point your finger. The strength of the dose would determine whether he were to linger out years, or drop dead in the midst of a breath. No king on his guarded throne could keep his life if I, in my private station, should deem that the welfare of millions justified me in depriving him of it."

"Why do you keep such a terrific drug?" inquired Georgiana in horror.

"Do not mistrust me, dearest," said her husband, smiling; "its virtuous potency is yet greater than its harmful one. But see! here is a powerful cosmetic. With a few drops of this in a vase of water, freckles may be washed away as easily as the hands are cleansed. A stronger infusion would take the blood out of the cheek, and leave the rosiest beauty a pale ghost."

"Is it with this lotion that you intend to bathe my cheek?" asked Georgiana, anxiously.

"Oh, no," hastily replied her husband; "this is merely superficial. Your case demands a remedy that shall go deeper."

In his interviews with Georgiana, Aylmer generally made minute inquiries as to her sensations and whether the confinement of the rooms and the temperature of the atmosphere agreed with her. These questions had such a particular drift that Georgiana began to conjecture that she was already subjected to certain physical influences, either breathed in with the fragrant air or taken with her food. She fancied likewise, but it might be altogether fancy, that there was a stirring up of her system--a strange, indefinite sensation creeping through her veins, and tingling, half painfully, half pleasurably, at her heart. Still, whenever she dared to look into the mirror, there she beheld herself pale as a white rose and with the crimson birthmark stamped upon her cheek. Not even Aylmer now hated it so much as she.

To dispel the tedium of the hours which her husband found it necessary to devote to the processes of combination and analysis, Georgiana turned over the volumes of his scientific library. In many dark old tomes she met with chapters full of romance and poetry. They were the works of philosophers of the middle ages, such as Albertus Magnus, Cornelius Agrippa, Paracelsus, and the famous friar who created the prophetic Brazen Head. All these antique naturalists stood in advance of their centuries, yet were imbued with some of their credulity, and therefore were believed, and perhaps imagined themselves to have acquired from the investigation of Nature a power above Nature, and from physics a sway over the spiritual world.

Hardly less curious and imaginative were the early volumes of the Transactions of the Royal Society, in which the members, knowing little of the limits of natural possibility, were continually recording wonders or proposing methods whereby wonders might be wrought.

But to Georgiana the most engrossing volume was a large folio from her husband's own hand, in which he had recorded every experiment of his scientific career, its original aim, the methods adopted for its development, and its final success or failure, with the circumstances to which either event was attributable.

The book, in truth, was both the history and emblem of his ardent, ambitious, imaginative, yet practical and laborious life. He handled physical details as if there were nothing beyond them; yet spiritualized them all, and redeemed himself from materialism by his strong and eager aspiration towards the infinite. In his grasp the veriest clod of earth assumed a soul. Georgiana, as she read, reverenced Aylmer and loved him more profoundly than ever, but with a less entire dependence on his judgment than heretofore. Much as he had accomplished, she could not but observe that his most splendid successes were almost invariably failures, if compared with the ideal at which he aimed. His brightest diamonds were the merest pebbles, and felt to be so by himself, in comparison with the inestimable gems which lay hidden beyond his reach. The volume, rich with achievements that had won renown for its author, was yet as melancholy a record as ever mortal hand had penned. It was the sad confession and continual exemplification of the shortcomings of the composite man, the spirit burdened with clay and working in matter, and of the despair that assails the higher nature at finding itself so miserably thwarted by the earthly part. Perhaps every man of genius in whatever sphere might recognize the image of his own experience in Aylmer's journal.So deeply did these reflections affect Georgiana that she laid her face upon the open volume and burst into tears. In this situation she was found by her husband.

"It is dangerous to read in a sorcerer's books," said he with a smile, though his countenance was uneasy and displeased. "Georgiana, there are pages in that volume which I can scarcely glance over and keep my senses. Take heed lest it prove as detrimental to you."

"It has made me worship you more than ever," said she.

"Ah, wait for this one success," rejoined he, "then worship me if you will. I shall deem myself hardly unworthy of it. But come, I have sought you for the luxury of your voice. Sing to me, dearest."

So she poured out the liquid music of her voice to quench the thirst of his spirit. He then took his leave with a boyish exuberance of gayety, assuring her that her seclusion would endure but a little longer, and that the result was already certain. Scarcely had he departed when Georgiana felt irresistibly impelled to follow him.

She had forgotten to inform Aylmer of a symptom which for two or three hours past had begun to excite her attention. It was a sensation in the fatal birthmark, not painful, but which induced a restlessness throughout her system. Hastening after her husband, she intruded for the first time into the laboratory.

The first thing that struck her eye was the furnace, that hot and feverish worker, with the intense glow of its fire, which by the quantities of soot clustered above it seemed to have been burning for ages. There was a distilling apparatus in full operation. Around the room were retorts, tubes, cylinders, crucibles, and other apparatus of chemical research. An electrical machine stood ready for immediate use. The atmosphere felt oppressively close, and was tainted with gaseous odors which had been tormented forth by the processes of science. The severe and homely simplicity of the apartment, with its naked walls and brick pavement, looked strange, accustomed as Georgiana had become to the fantastic elegance of her boudoir. But what chiefly, indeed almost solely, drew her attention, was the aspect of Aylmer himself.

He was pale as death, anxious and absorbed, and hung over the furnace as if it depended upon his utmost watchfulness whether the liquid which it was distilling should be the draught of immortal happiness or misery. How different from the sanguine and joyous mien that he had assumed for Georgiana's encouragement!

"Carefully now, Aminadab; carefully, thou human machine; carefully, thou man of clay!" muttered Aylmer, more to himself than his assistant. "Now, if there be a thought too much or too little, it is all over."

"Ho! ho!" mumbled Aminadab. "Look, master! look!"

Aylmer raised his eyes hastily, and at first reddened, then grew paler than ever, on beholding Georgiana. He rushed towards her and seized her arm with a gripe that left the print of his fingers upon it.

"Why do you come hither? Have you no trust in your husband?" cried he, impetuously. "Would you throw the blight of that fatal birthmark over my labors? It is not well done. Go, prying woman, go!"

"Nay, Aylmer," said Georgiana with the firmness of which she possessed no stinted endowment, "it is not you that have a right to complain. You mistrust your wife; you have concealed the anxiety with which you watch the development of this experiment. Think not so unworthily of me, my husband. Tell me all the risk we run, and fear not that I shall shrink; for my share in it is far less than your own."

"No, no, Georgiana!" said Aylmer, impatiently; "it must not be."

"I submit," replied she calmly. "And, Aylmer, I shall quaff whatever draught you bring me; but it will be on the same principle that would induce me to take a dose of poison if offered by your hand."

"My noble wife," said Aylmer, deeply moved, "I knew not the height and depth of your nature until now.

Nothing shall be concealed. Know, then, that this crimson hand, superficial as it seems, has clutched its grasp into your being with a strength of which I had no previous conception. I have already administeredagents powerful enough to do aught except to change your entire physical system. Only one thing remains to be tried. If that fail us we are ruined."

"Why did you hesitate to tell me this?" asked she.

"Because, Georgiana," said Aylmer, in a low voice, "there is danger."

"Danger? There is but one danger--that this horrible stigma shall be left upon my cheek!" cried Georgiana.

"Remove it, remove it, whatever be the cost, or we shall both go mad!"

"Heaven knows your words are too true," said Aylmer, sadly. "And now, dearest, return to your boudoir. In a little while all will be tested."

He conducted her back and took leave of her with a solemn tenderness which spoke far more than his words how much was now at stake. After his departure Georgiana became rapt in musings. She considered the character of Aylmer, and did it completer justice than at any previous moment. Her heart exulted, while it trembled, at his honorable love--so pure and lofty that it would accept nothing less than perfection nor miserably make itself contented with an earthlier nature than he had dreamed of. She felt how much more precious was such a sentiment than that meaner kind which would have borne with the imperfection for her sake, and have been guilty of treason to holy love by degrading its perfect idea to the level of the actual; and with her whole spirit she prayed that, for a single moment, she might satisfy his highest and deepest conception. Longer than one moment she well knew it could not be; for his spirit was ever on the march, ever ascending, and each instant required something that was beyond the scope of the instant before.

The sound of her husband's footsteps aroused her. He bore a crystal goblet containing a liquor colorless as water, but bright enough to be the draught of immortality. Aylmer was pale; but it seemed rather the consequence of a highly-wrought state of mind and tension of spirit than of fear or doubt.

"The concoction of the draught has been perfect," said he, in answer to Georgiana's look. "Unless all my science have deceived me, it cannot fail."

"Save on your account, my dearest Aylmer," observed his wife, "I might wish to put off this birthmark of mortality by relinquishing mortality itself in preference to any other mode. Life is but a sad possession to those who have attained precisely the degree of moral advancement at which I stand. Were I weaker and blinder it might be happiness. Were I stronger, it might be endured hopefully. But, being what I find myself, methinks I am of all mortals the most fit to die."

"You are fit for heaven without tasting death!" replied her husband "But why do we speak of dying? The draught cannot fail. Behold its effect upon this plant."

On the window seat there stood a geranium diseased with yellow blotches, which had overspread all its leaves. Aylmer poured a small quantity of the liquid upon the soil in which it grew. In a little time, when the roots of the plant had taken up the moisture, the unsightly blotches began to be extinguished in a living verdure.

"There needed no proof," said Georgiana, quietly. "Give me the goblet I joyfully stake all upon your word."

"Drink, then, thou lofty creature!" exclaimed Aylmer, with fervid admiration. "There is no taint of imperfection on thy spirit. Thy sensible frame, too, shall soon be all perfect."

She quaffed the liquid and returned the goblet to his hand.

"It is grateful," said she with a placid smile. "Methinks it is like water from a heavenly fountain; for it contains I know not what of unobtrusive fragrance and deliciousness. It allays a feverish thirst that had parched me for many days. Now, dearest, let me sleep. My earthly senses are closing over my spirit like the leaves around the heart of a rose at sunset."She spoke the last words with a gentle reluctance, as if it required almost more energy than she could command to pronounce the faint and lingering syllables. Scarcely had they loitered through her lips ere she was lost in slumber. Aylmer sat by her side, watching her aspect with the emotions proper to a man the whole value of whose existence was involved in the process now to be tested. Mingled with this mood, however, was the philosophic investigation characteristic of the man of science. Not the minutest symptom escaped him. A heightened flush of the cheek, a slight irregularity of breath, a quiver of the eyelid, a hardly perceptible tremor through the frame,--such were the details which, as the moments passed, he wrote down in his folio volume. Intense thought had set its stamp upon every previous page of that volume, but the thoughts of years were all concentrated upon the last.

While thus employed, he failed not to gaze often at the fatal hand, and not without a shudder. Yet once, by a strange and unaccountable impulse he pressed it with his lips. His spirit recoiled, however, in the very act, and Georgiana, out of the midst of her deep sleep, moved uneasily and murmured as if in remonstrance.

Again Aylmer resumed his watch. Nor was it without avail. The crimson hand, which at first had been strongly visible upon the marble paleness of Georgiana's cheek, now grew more faintly outlined. She remained not less pale than ever; but the birthmark with every breath that came and went, lost somewhat of its former distinctness. Its presence had been awful; its departure was more awful still. Watch the stain of the rainbow fading out the sky, and you will know how that mysterious symbol passed away.

"By Heaven! it is well-nigh gone!" said Aylmer to himself, in almost irrepressible ecstasy. "I can scarcely trace it now. Success! success! And now it is like the faintest rose color. The lightest flush of blood across her cheek would overcome it. But she is so pale!"

He drew aside the window curtain and suffered the light of natural day to fall into the room and rest upon her cheek. At the same time he heard a gross, hoarse chuckle, which he had long known as his servant Aminadab's expression of delight.

"Ah, clod! ah, earthly mass!" cried Aylmer, laughing in a sort of frenzy, "you have served me well! Matter and spirit--earth and heaven --have both done their part in this! Laugh, thing of the senses! You have earned the right to laugh."

These exclamations broke Georgiana's sleep. She slowly unclosed her eyes and gazed into the mirror which her husband had arranged for that purpose. A faint smile flitted over her lips when she recognized how barely perceptible was now that crimson hand which had once blazed forth with such disastrous brilliancy as to scare away all their happiness. But then her eyes sought Aylmer's face with a trouble and anxiety that he could by no means account for.

"My poor Aylmer!" murmured she.

"Poor? Nay, richest, happiest, most favored!" exclaimed he. "My peerless bride, it is successful! You are perfect!"

"My poor Aylmer," she repeated, with a more than human tenderness, "you have aimed loftily; you have done nobly. Do not repent that with so high and pure a feeling, you have rejected the best the earth could offer.

Aylmer, dearest Aylmer, I am dying!"

Alas! it was too true! The fatal hand had grappled with the mystery of life, and was the bond by which an angelic spirit kept itself in union with a mortal frame. As the last crimson tint of the birthmark--that sole token of human imperfection--faded from her cheek, the parting breath of the now perfect woman passed into the atmosphere, and her soul, lingering a moment near her husband, took its heavenward flight. Then a hoarse, chuckling laugh was heard again! Thus ever does the gross fatality of earth exult in its invariable triumph over the immortal essence which, in this dim sphere of half development, demands the completeness of a higher state. Yet, had Alymer reached a profounder wisdom, he need not thus have flungaway the happiness which would have woven his mortal life of the selfsame texture with the celestial. The momentary circumstance was too strong for him; he failed to look beyond the shadowy scope of time, and, living once for all in eternity, to find the perfect future in the present.

Thursday, February 20, 2025

Unlocking the Power of Short Fiction: A Step-by-Step Guide

  Remember, practice is key. The more you write, the better you'll become. Don't be afraid to experiment with different styles and genres. Most importantly, enjoy the process of creating stories that captivate your reader.


Unlocking the Power of Short Fiction: A Step-by-Step Guide 


By Olivia Salter



Short stories have the power to captivate, challenge, and move readers in just a few pages. Unlike novels, where writers have the luxury of time to build worlds and develop intricate plots, short stories demand precision, impact, and efficiency. Whether you’re a seasoned writer or just starting out, mastering the art of short fiction can enhance your storytelling skills across all forms of writing.

This guide breaks down the essential elements of crafting a compelling short story. From developing strong characters and intriguing openings to refining structure and writing vivid prose, each section is designed to help you hone your craft. Along the way, you’ll find practical exercises to reinforce what you learn and encourage experimentation.

By the end of this guide, you’ll have the tools to create stories that leave a lasting impression—stories that resonate, surprise, and evoke emotion. Now, let’s begin the journey into the art of short fiction.

1. Start with a Strong Concept

Every great short story begins with an idea. Without a strong foundation, even the most well-written stories can feel aimless. The concept should intrigue both you and your reader, offering an entry point into a compelling narrative. Think about:

  • A unique situation or conflict: What sets your story apart? Perhaps it's an ordinary event turned extraordinary or a dilemma with no easy resolution.
  • A compelling character with a goal: Who is your protagonist, and what drives them? A well-defined character with a clear objective makes the story more engaging.
  • An emotional theme or message: What feeling or insight do you want to leave with the reader? Themes can be subtle or overt but should add depth to your story.
  • A twist that subverts expectations: Readers love surprises. A well-executed twist can turn a familiar story into something unforgettable.

Consider real-world events, personal experiences, or even random observations as inspiration for your story’s core idea. Keep your premise focused; short stories don’t have the space for sprawling plots, so hone in on a singular, impactful concept.

Exercise: Write three different story premises in one sentence each. Explore different genres or tones to challenge your creativity. Pick the one that excites you the most and brainstorm possible directions it could take.

2. Develop Your Characters

Short stories have limited space, so every character should serve a purpose. Unlike novels, where multiple characters can be explored in depth, short fiction requires precise and intentional character development. Every character introduced should either advance the plot, add tension, or contribute to the story’s theme.

  • A protagonist with a clear goal or conflict: Your main character should have a driving force behind their actions. What do they want, and what’s stopping them from getting it?
  • A distinct personality and voice: Characters should feel real and distinct, with unique ways of thinking, speaking, and reacting to situations.
  • A character arc or transformation: Even in a short span, a character should experience some form of growth, realization, or change—whether internal or external.

Ways to Develop Characters Effectively:

  • Show their emotions and decisions rather than explaining them.
  • Use dialogue and interactions to reveal their traits and backstory naturally.
  • Give them flaws and motivations that make them relatable and multidimensional.

Tip: Instead of long backstories, reveal details through action and dialogue. A well-placed line of dialogue or a character’s choice can say more than pages of exposition.

Exercise: Describe your main character in three sentences—one for appearance, one for personality, and one for motivation. Then, write a short scene that showcases these traits in action rather than describing them outright.

3. Establish a Gripping Opening

You only have a few sentences to grab the reader, so your opening must be compelling, immersive, and memorable. The first lines set the tone for the rest of the story and should pull the reader in immediately. Think of it as an invitation—one they can’t resist accepting.

Here are some effective techniques:

  • Start in the middle of action: Drop the reader straight into an intense moment, making them curious about what led to it and what will happen next.
  • Use an intriguing line of dialogue: A conversation that hints at conflict, urgency, or intrigue can hook readers right away.
  • Pose a mystery or question: Presenting an unanswered question or a puzzling situation entices the reader to keep going to find out more.
  • Create a striking image or emotion: Vivid description or a powerful feeling can immerse readers from the very first sentence.
  • Hint at the central conflict: Give a glimpse of the main struggle or stakes early to create a sense of anticipation.

Common Mistakes to Avoid:

  • Starting with excessive description that slows the pace.
  • Using clichés that feel predictable or overused.
  • Beginning with backstory instead of engaging the reader in the present moment.

Exercise: Write three different opening lines for your story, experimenting with different techniques. Choose the strongest one and expand it into your first paragraph, ensuring it builds intrigue and momentum.

4. Structure Your Story Effectively

A short story typically follows this structure:

  • Hook: Establishes intrigue and sets the tone (first 1-2 paragraphs)

    • This is the moment when you grab the reader's attention, making them want to continue reading. The hook could be a mysterious statement, an intriguing scene, or a compelling question. It should promise an experience or evoke curiosity, setting up the central conflict or theme.
  • Rising Action: Builds tension, conflict, and stakes

    • In this section, the protagonist encounters challenges or obstacles, and the story begins to escalate. You create a sense of urgency or importance, introducing complications that propel the story forward. The rising action should deepen the conflict and heighten emotions, pushing the characters toward the climax.
  • Climax: The emotional or action-packed turning point

    • The climax is the most intense part of the story, where the conflict reaches its peak. It could involve a dramatic decision, a confrontation, or a major revelation. This moment changes the direction of the story, often reshaping the characters' lives or relationships. It's the point of no return, where things either come together or spiral out of control.
  • Resolution: Leaves the reader with a lasting impact, wrapping up loose ends

    • In the resolution, the story winds down and the consequences of the climax unfold. The conflict is resolved (or, in some cases, unresolved for ambiguity or thematic reasons). The characters' journeys reach their conclusions, and the reader is left with a sense of closure or reflection. The resolution may also introduce a final twist or insight that enhances the overall impact.

Tip: Keep your story focused on a single key event or conflict. This ensures that your plot remains tight and well-paced, avoiding unnecessary subplots or distractions that can dilute the main theme or message.

Exercise: Outline your story using these four key moments.

  1. Hook: What’s the intriguing opening? How does it set the tone or raise questions?
  2. Rising Action: What challenges will your protagonist face? How do these build tension?
  3. Climax: What’s the pivotal moment where everything changes for your protagonist?
  4. Resolution: How does the story end? What impact do the events have on the characters and the reader?

By focusing on these moments, you’ll ensure a compelling narrative with strong pacing and clear stakes.

5. Use Vivid, Concise Language

Short stories require tight, impactful writing where every word counts. Unlike novels, where there is room for elaborate descriptions and lengthy explanations, short stories must create a strong impression with minimal space. The key is to make your prose precise, evocative, and immersive.

Here’s how to refine your writing:

  • Show rather than tell: Instead of explaining emotions or events, let the reader experience them through actions, dialogue, and sensory details. For example, instead of saying, "She was nervous," show her biting her lip, tapping her foot, or fumbling with her keys.
  • Use strong, specific verbs: Weak verbs can make writing feel flat. Instead of “walked quickly,” use “strode” or “rushed.” Instead of “looked,” use “gazed,” “stared,” or “glanced.”
  • Write dialogue that reveals character: The way characters speak should hint at their personality, background, and emotions. A well-placed pause, hesitation, or interruption can say as much as the words themselves.
  • Eliminate unnecessary words: Concise writing keeps the reader engaged. Cut filler words, redundancies, and excessive adverbs to tighten your prose.
  • Engage the senses: Appeal to sight, sound, taste, touch, and smell to make scenes more immersive.

Common Pitfalls to Avoid:

  • Over-explaining emotions instead of letting actions speak for themselves.
  • Relying too heavily on adjectives and adverbs instead of strong nouns and verbs.
  • Writing overly long or complicated sentences that slow down the pacing.

Exercise: Take a dull sentence from your draft and rewrite it with sensory details. Focus on making it more vivid, specific, and engaging.

6. Create a Memorable Ending

Endings should be satisfying, surprising, or thought-provoking. A strong conclusion ensures your story leaves a lasting impression on the reader. Whether it ties everything together or leaves room for interpretation, the ending should feel intentional and meaningful.

Consider these approaches:

  • A twist that recontextualizes the story: A well-executed twist can make readers see the entire story in a new light. It should be surprising yet logical in hindsight.
  • An emotional resolution: Some of the most powerful endings focus on the protagonist’s growth, change, or realization. It doesn’t have to be happy, but it should feel earned.
  • An open-ended conclusion that lingers: Not all stories need clear answers. Sometimes, leaving readers with a question or an ambiguous moment can make the story more thought-provoking and memorable.
  • A circular ending: This technique brings the story full circle, connecting the final lines back to the beginning in a way that adds depth and resonance.
  • A punchy, impactful final sentence: The last line should leave a strong impression, whether it’s a revelation, a striking image, or a lingering emotion.

Common Pitfalls to Avoid:

  • Wrapping things up too neatly or predictably.
  • Ending too abruptly without a sense of closure.
  • Introducing new elements at the last minute that don’t feel organic to the story.

Exercise: Write two different endings—one with a twist and one with an emotional resolution. Then, compare their impact and decide which best fits your story.

7. Revise and Polish

Great writing comes from rewriting. The first draft is just the beginning—revision is where your story truly takes shape. Editing allows you to refine your ideas, strengthen your prose, and ensure your story delivers the impact you intended.

When editing, focus on:

  • Removing unnecessary words: Every word in a short story should serve a purpose. Cut filler words, redundant phrases, and overly long descriptions that slow the pace.
  • Strengthening weak dialogue: Ensure characters speak in a way that feels natural and true to their personalities. Remove forced exposition and make sure conversations add depth to the story.
  • Ensuring consistency in character and tone: Characters should behave in a way that aligns with their established traits, and the story's tone should remain steady throughout.
  • Enhancing imagery and sensory details: Make sure your descriptions are vivid and immersive without being excessive.
  • Checking pacing and flow: Does each scene naturally lead to the next? Ensure that your story builds tension effectively and doesn’t rush or drag.
  • Eliminating grammar and punctuation errors: A polished story is free of distracting mistakes that pull the reader out of the experience.

Pro Editing Tip: Change the format or font of your story while editing—it can help you see the text with fresh eyes.

Exercise: Read your story aloud and highlight any awkward phrasing, clunky dialogue, or sentences that don’t flow well. Then, revise those sections for clarity and impact.

Final Thought

A great short story is one that lingers in the reader's mind long after they finish it, leaving a profound impression in just a few pages. The power of brevity lies in its ability to distill a moment, a theme, or an emotional truth into its purest form, making each word resonate deeply. When you craft your story, it's important to stay true to your original vision, trusting your instincts and your unique voice. Your personal connection to the material will breathe life into the story, making it feel authentic and engaging.

Refining your craft is an ongoing process. Writing short stories requires precision, the ability to condense complex ideas into small, impactful sections. As you revise, focus on every element: pacing, dialogue, description, symbolism, and emotional resonance. Ask yourself how each part of the story contributes to the whole, and whether it serves the central conflict or theme. Don’t shy away from experimenting with different techniques—whether it’s playing with narrative structure, adding layers of ambiguity, or exploring fresh ways to present character emotions. These experiments can lead to breakthroughs that make your story stand out.

Remember, in short stories, every word matters. There’s little room for filler. Each sentence should serve a specific purpose, whether it’s advancing the plot, revealing character, or heightening emotional tension. Cutting unnecessary words can strengthen the impact of your story. And as you fine-tune your work, consider the rhythm of your sentences, the balance of dialogue and description, and how your choices affect the reader's experience.

Ultimately, your goal is to create a story that isn’t just memorable for its plot, but for the emotions it evokes and the connections it forms. By infusing your short story with meaning, style, and emotion, you’ll leave the reader with something to reflect upon—long after the final page. Stay passionate, keep experimenting, and embrace the power of short fiction to create something unforgettable.

Sunday, January 26, 2025

The Haunted Mind by Nathaniel Hawthorne

 



The Haunted Mind


By


Nathaniel Hawthorne


Word Count: 1,777

Genre: Gothic, Literary

Published 1835 in The Token and Atlantic Souvenir


What a singular moment is the first one, when you have hardly begun to recollect yourself, after starting from midnight slumber! By unclosing your eyes so suddenly you seem to have surprised the personages of your dream in full convocation round your bed, and catch one broad glance at them before they can flit into obscurity. Or, to vary the metaphor, you find yourself for a single instant wide awake in that realm of illusions whither sleep has been the passport, and behold its ghostly inhabitants and wondrous scenery with a perception of their strangeness such as you never attain while the dream is undisturbed. The distant sound of a church-clock is borne faintly on the wind. You question with yourself, half seriously, whether it has stolen to your waking ear from some gray tower that stood within the precincts of your dream. While yet in suspense another clock flings its heavy clang over the slumbering town with so full and distinct a sound, and such a long murmur in the neighboring air, that you are certain it must proceed from the steeple at the nearest corner; You count the strokes—one, two; and there they cease with a booming sound like the gathering of a third stroke within the bell.

If you could choose an hour of wakefulness out of the whole night, it would be this. Since your sober bedtime, at eleven, you have had rest enough to take off the pressure of yesterday’s fatigue, while before you, till the sun comes from “Far Cathay” to brighten your window, there is almost the space of a summer night—one hour to be spent in thought with the mind’s eye half shut, and two in pleasant dreams, and two in that strangest of enjoyments the forgetfulness alike of joy and woe. The moment of rising belongs to another period of time, and appears so distant that the plunge out of a warm bed into the frosty air cannot yet be anticipated with dismay. Yesterday has already vanished among the shadows of the past; to-morrow has not yet emerged from the future. You have found an intermediate space where the business of life does not intrude, where the passing moment lingers and becomes truly the present; a spot where Father Time, when he thinks nobody is watching him, sits down by the wayside to take breath. Oh that he would fall asleep and let mortals live on without growing older!

Hitherto you have lain perfectly still, because the slightest motion would dissipate the fragments of your slumber. Now, being irrevocably awake, you peep through the half-drawn window-curtain, and observe that the glass is ornamented with fanciful devices in frost-work, and that each pane presents something like a frozen dream. There will be time enough to trace out the analogy while waiting the summons to breakfast. Seen through the clear portion of the glass where the silvery mountain-peaks of the frost-scenery do not ascend, the most conspicuous object is the steeple, the white spire of which directs you to the wintry lustre of the firmament. You may almost distinguish the figures on the clock that has just told the hour. Such a frosty sky and the snow-covered roofs and the long vista of the frozen street, all white, and the distant water hardened into rock, might make you shiver even under four blankets and a woollen comforter. Yet look at that one glorious star! Its beams are distinguishable from all the rest, and actually cast the shadow of the casement on the bed with a radiance of deeper hue than moonlight, though not so accurate an outline.

You sink down and muffle your head in the clothes, shivering all the while, but less from bodily chill than the bare idea of a polar atmosphere. It is too cold even for the thoughts to venture abroad. You speculate on the luxury of wearing out a whole existence in bed like an oyster in its shell, content with the sluggish ecstasy of inaction, and drowsily conscious of nothing but delicious warmth such as you now feel again. Ah! that idea has brought a hideous one in its train. You think how the dead are lying in their cold shrouds and narrow coffins through the drear winter of the grave, and cannot persuade your fancy that they neither shrink nor shiver when the snow is drifting over their little hillocks and the bitter blast howls against the door of the tomb. That gloomy thought will collect a gloomy multitude and throw its complexion over your wakeful hour.

In the depths of every heart there is a tomb and a dungeon, though the lights, the music and revelry, above may cause us to forget their existence and the buried ones or prisoners whom they hide. But sometimes, and oftenest at midnight, those dark receptacles are flung wide open. In an hour like this, when the mind has a passive sensibility, but no active strength—when the imagination is a mirror imparting vividness to all ideas without the power of selecting or controlling them—then pray that your griefs may slumber and the brotherhood of remorse not break their chain. It is too late. A funeral train comes gliding by your bed in which passion and feeling assume bodily shape and things of the mind become dim spectres to the eye. There is your earliest sorrow, a pale young mourner wearing a sister’s likeness to first love, sadly beautiful, with a hallowed sweetness in her melancholy features and grace in the flow of her sable robe. Next appears a shade of ruined loveliness with dust among her golden hair and her bright garments all faded and defaced, stealing from your glance with drooping head, as fearful of reproach: she was your fondest hope, but a delusive one; so call her Disappointment now. A sterner form succeeds, with a brow of wrinkles, a look and gesture of iron authority; there is no name for him unless it be Fatality—an emblem of the evil influence that rules your fortunes, a demon to whom you subjected yourself by some error at the outset of life, and were bound his slave for ever by once obeying him. See those fiendish lineaments graven on the darkness, the writhed lip of scorn, the mockery of that living eye, the pointed finger touching the sore place in your heart! Do you remember any act of enormous folly at which you would blush even in the remotest cavern of the earth? Then recognize your shame.

Pass, wretched band! Well for the wakeful one if, riotously miserable, a fiercer tribe do not surround him—the devils of a guilty heart that holds its hell within itself. What if Remorse should assume the features of an injured friend? What if the fiend should come in woman’s garments with a pale beauty amid sin and desolation, and lie down by your side? What if he should stand at your bed’s foot in the likeness of a corpse with a bloody stain upon the shroud? Sufficient without such guilt is this nightmare of the soul, this heavy, heavy sinking of the spirits, this wintry gloom about the heart, this indistinct horror of the mind blending itself with the darkness of the chamber.

By a desperate effort you start upright, breaking from a sort of conscious sleep and gazing wildly round the bed, as if the fiends were anywhere but in your haunted mind. At the same moment the slumbering embers on the hearth send forth a gleam which palely illuminates the whole outer room and flickers through the door of the bedchamber, but cannot quite dispel its obscurity. Your eye searches for whatever may remind you of the living world. With eager minuteness you take note of the table near the fireplace, the book with an ivory knife between its leaves, the unfolded letter, the hat and the fallen glove. Soon the flame vanishes, and with it the whole scene is gone, though its image remains an instant in your mind’s eye when darkness has swallowed the reality. Throughout the chamber there is the same obscurity as before, but not the same gloom within your breast.

As your head falls back upon the pillow you think—in a whisper be it spoken—how pleasant in these night solitudes would be the rise and fall of a softer breathing than your own, the slight pressure of a tenderer bosom, the quiet throb of a purer heart, imparting its peacefulness to your troubled one, as if the fond sleeper were involving you in her dream. Her influence is over you, though she have no existence but in that momentary image. You sink down in a flowery spot on the borders of sleep and wakefulness, while your thoughts rise before you in pictures, all disconnected, yet all assimilated by a pervading gladsomeness and beauty. The wheeling of gorgeous squadrons that glitter in the sun is succeeded by the merriment of children round the door of a schoolhouse beneath the glimmering shadow of old trees at the corner of a rustic lane. You stand in the sunny rain of a summer shower, and wander among the sunny trees of an autumnal wood, and look upward at the brightest of all rainbows overarching the unbroken sheet of snow on the American side of Niagara. Your mind struggles pleasantly between the dancing radiance round the hearth of a young man and his recent bride and the twittering flight of birds in spring about their new-made nest. You feel the merry bounding of a ship before the breeze, and watch the tuneful feet of rosy girls as they twine their last and merriest dance in a splendid ball-room, and find yourself in the brilliant circle of a crowded theatre as the curtain falls over a light and airy scene.

With an involuntary start you seize hold on consciousness, and prove yourself but half awake by running a doubtful parallel between human life and the hour which has now elapsed. In both you emerge from mystery, pass through a vicissitude that you can but imperfectly control, and are borne onward to another mystery. Now comes the peal of the distant clock with fainter and fainter strokes as you plunge farther into the wilderness of sleep. It is the knell of a temporary death. Your spirit has departed, and strays like a free citizen among the people of a shadowy world, beholding strange sights, yet without wonder or dismay. So calm, perhaps, will be the final change—so undisturbed, as if among familiar things, the entrance of the soul to its eternal home.

Friday, January 24, 2025

The Barbarians by Tom Godwin

 



THE BARBARIANS

BY TOM GODWIN

The execution violated the basic laws of Tharnar.
But the danger was too great—The Terrans couldn't
be permitted to live under any circumstances....

[Transcriber's Note: This etext was produced from
Worlds of If Science Fiction, December 1955.
Extensive research did not uncover any evidence that
the U.S. copyright on this publication was renewed.]


Tal-Karanth, Supreme Executive of Tharnar, signed the paper and dropped it in to the out-going slot of the message dispatch tube. It was an act that would terminate one hundred and eighty days of studying the tapes and records on the Terran ship and would set the final hearing of the Terran man and woman for that day.

And, since the Terrans were guilty, their execution would take place before the sun rose again on Tharnar.

He went to the wide windows which had automatically opened with the coming of the day's warmth and looked out across the City. The City had a name, to be found in the books and tapes of history, but for fifty thousand years it had been known as the City. It was the city of all cities, the center and soul of Tharnarian civilization. It was a city of architectural beauty, of flowered gardens and landscaped parks, a city of five hundred centuries of learning, a city of eternal peace.

The gentle summer breeze brought the sweet scent of the flowering lana trees through the window and the familiar sound of the City as it went about its day's routine; a sound soft and unhurried, like a slow whisper. Peace for fifty thousand years; peace and the unhurried quiet. It would always be so for the City. The Supreme Executives of the past had been chosen for their ability to insure the safety of the City and so had he.

He turned away from the window and back to his desk, to brush his hand across the gleaming metal top of it. No faintest scratch marred the eternalloy surface, although the desk had been there for more than thirty thousand years. It was permanent and never-changing, like the robot-operated fleet that guarded Tharnar, like the white and massive Executive Building, like the way of life on Tharnar.

The Terrans would have to die, lest the peace and the way of life on Tharnar be destroyed. They were of a young race; a race so young that his desk had already been in place for fifteen thousand years when they began emerging from their caves. They were a dangerously immature race; it had been only three hundred years since their last war with themselves. Three hundred years—three normal Tharnarian lifetimes. And the Tharnarians had not known war for six hundred lifetimes.

A race so young could not possess a civilized culture. The Terrans were—he searched for a suitable description—barbarians in spaceships. They lacked the refinement and wisdom of the Tharnarians; they were a dangerous and unpredictable race. It could be seen in their history; could be seen in the way the two Terrans had reacted to their capture.

He pressed one of the many buttons along the edge of his desk and a three-dimensional projection appeared; the scene that had taken place one hundred and eighty days before when the Terrans were brought to Tharnar.

The ship of the Terrans stood bright silver in the sunlight, slim and graceful against the bulk of the Executive Building behind it. The Terrans descended the boarding ramp, the left wrist of the man chained to the right wrist of the girl. Two armed robots walked behind them, their faces metallically impassive, and four armed Tharnarian guards waited at the bottom of the ramp to help take the Terrans to their place of imprisonment.

The Terrans approached the guards with a watchfulness that reminded him of the old films of the coast wolves that had once lived on Vendal. They did not walk with the studied, practiced, leisure of the Tharnarians but as though they held some unknown vitality barely in check. The face of the man was lean and hard, the black eyes inscrutable as flint. The girl looked at the guards with a bold nonchalance, as though they were really not formidable at all. Somehow, by contrast with the Terrans, the guards appeared to be not grimly vigilant but only colorless.

There seemed to be a menace in the way the man watched the guards; there was the impression that he would overpower them and sieze their weapons if given a shadow of a chance. And the girl—what would she do, then? Would she flash in beside him to help him, as the female coast wolves always helped their mates?

He switched off the projection, feeling a little repugnance at the thought of executing the Terrans. They were living, sentient beings, and intelligent, for all their lack of civilization. It would have been better if they had been of some repulsive and alien physical form, such as bloated, many-legged giant insects. But they were not at all repulsive; they were exactly like the Tharnarians.

Exactly?

He shook his head. Not exactly. The similarity was only to the eye—and not even to the eye when one looked closely, as he had looked at the images. There was a potential violence about them, lurking close beneath their deceptively Tharnarian physical appearance. The Terrans were not like the Tharnarians. There was a difference of fifty thousand years between them; the difference between savage barbarianism and a great and peaceful civilization.

He looked again across the City, listening to its softly murmuring voice. In hundreds of centuries the City had known no strife or violence. But what if the barbarians should come, not two of them, but thousands? What would they do?

He was sure he knew what they would do to the gentle, peaceful City and the faint twinge of remorse at the thought of executing the Terran man and girl paled into insignificance.

Under no circumstance could they be permitted to live and tell the others of Tharnar and the City.


Bob Randall shifted his position a little in the wide seat and the chain that linked his wrist with Virginia's rattled metallically, sounding unduly loud in the quiet of the room.

Virginia's black hair brushed his cheek as she turned her face up to him, to ask in a whisper so low it could not be heard by the four guards who stood beside and behind them:

"It's almost over, isn't it?"

He nodded and she turned her attention back to the five judges seated at the row of five desks before them. The gray-haired one at the center desk, Bob knew, was the one in charge of the proceedings and his name was Vor-Dergal. He had gained the knowledge by watching and listening and it was the only information he had acquired. He did not know the names of the other four judges, nor even for sure that they were judges and that it was a trial. There had been no introductions by the Tharnarians, no volunteering of information.

Vor-Dergal spoke to them:

"In brief, the facts are these: You claim that your mission was of a scientific nature, that the two of you were sent from Earth to try to reach the center of the galaxy where you hoped to find data concerning the creation of the galaxy. Your ship carried only the two of you and is one of several such ships sent out on such missions. Since the voyages of these small exploration ships were expected to require an indefinite number of years and since the occupants would have to endure each other's company for those years, your government thought it more feasable to let the crew of each ship consist of a man and a woman, rather than two men."

He saw Virginia's cheek quiver at the words, but she managed to restrain the smile.

"Our system was reached in your journey," Vor-Dergal continued, "and you swung aside to investigate our sister planet, Vendal. You were met by a guard ship before reaching Vendal and it fired upon you. Instead of turning back, you destroyed it with a tight-beam adaptation of your meteor disintegrator."

Vor-Dergal waited questioningly and Bob said:

"Our instruments showed us that the guard ship was robot-operated. They could discern nothing organic in the ship, nothing alive. The same instruments showed us that this planet, Vendal, possessed operating mines and factories and no organic life other than small animals. We knew that machines neither voluntarily build factories nor reproduce other machines, yet the mines and factories were operating. We thought it might be a world where the inhabitants had all died for some reason and the robots were still following the production orders given them when the race lived."

"And so you wilfully destroyed the guard ship that would have turned you back?"

"We did. It was a machine, operated by machines. And so far as we knew, it was protecting a race that had died a thousand years before. It was all a mystery and we wanted to find the answer to it."

Vor-Dergal and the others accepted the explanation without change of expression. Vor-Dergal resumed:

"Three more guard ships appeared when you were near Vendal. In the battle that followed, you severely damaged one of them. And when your ship was finally caught in the guard cruiser's tractor beams, you resisted the robots. When they boarded your ship, you destroyed several of them and were subdued only when the compartments of your ship were flooded with a disabling gas."

"That's true," Bob said.

"In summary: You deliberately invaded Tharnarian territory, deliberately damaged and destroyed Tharnarian ships, and would have landed on Vendal had the guard ships not prevented it.

"Your guilt is both evident and admitted. Are there any extenuating circumstances that have not been presented at this hearing?"

"No," Bob said.

None had been presented all day for the good reason that there was not a single factor of the circumstances that the Tharnarians would consider extenuating.

"Your guilt was evident from the beginning," Vor-Dergal said. "We have spent the past one hundred and eighty days in studying the books and tapes in your ship. What we learned of your history and your form of civilization leaves us no alternative in the sentence we must pass upon you."

The chain clinked faintly as Virginia lifted her hand to lay it on his arm and she gave him a quick glance that said, "Here it comes!"

Vor-Dergal pronounced sentence upon them:

"Tomorrow morning, at thirty-three twelve time, you will both be put to death by a robot firing squad."

Virginia's breath stopped for a moment and her hand gripped his arm with sudden pressure but she gave no other indication of emotion and her eyes did not waver from Vor-Dergal's face.

Vor-Dergal looked past her to the guards. "Return them to their cell."

The guards produced another chain, to link their free arms together behind their backs, and they were marched across the room and out the door.

Outside, the sun was setting, already invisible behind a low-lying cloud. Bob calculated the designated time of their execution in relation to the Terran time as given by his watch and found that thirty-three twelve would be about halfway between daylight and sunrise.


Tal-Karanth stood by the open windows and watched the guards return the Terrans to their cell. Extra guards, both robot and Tharnarian, had been posted inside and outside the prison building for the night to prevent any possibility of an escape. Other robots stood guard around the Terran ship, although it was inconceivable that the Terrans could ever overpower the prison guards and reach their ship.

But it had been inconceivable that a ship as small as the Terran ship could ever destroy a Tharnarian guard cruiser. The tight-beam adaptation circuit of the meteor disintegrators was very ingenious.

Why had the Tharnarian cruisers not had the same weapon? They possessed the same general type of meteor disintegrators; the same adaptation circuit would transform a Tharnarian cruiser's meteor disintegrators into terrible weapons. Why had no one ever thought of doing such a thing? Why had it been taken for granted for fifty thousand years that the cruiser's blasters were the ultimate in weapons?

What other weapons did the Terrans on Earth possess? How invincible would their cruisers be if a small exploration ship could destroy a Tharnarian cruiser?

The captive Terrans could not be permitted to return to Earth and tell the others of Tharnar. Neither could they be permitted to live out their lives in prison on Tharnar. Someday, somehow, they might escape and return to Earth, or send a message to Earth. The robot fleet of Tharnar could never withstand an attack by a Terran fleet; the fate of Tharnar and the quiet and gentle City would be written in blood and dust and ashes.

There was the sound of rubber-padded metal feet in the distance and he saw six more robots marching out to add their numbers to the robots already guarding the Terran ship. The ship, itself, was not far from the Executive Building; close enough that his eyes, still sharp despite his seventy years, could make out the name on it: The Cat.

The Cat. And a cat was—he recalled the definition to be found among the Terran books—any of various species of carnivorous and predatory animals, noted for their stealth and quickness, and their ferocity when angered.


The robot shoved the plastic food tray under the cell door and went back down the corridor. Virginia turned away from the single window, where The Cat could be seen as a silhouette merging into the darkness.

"Last supper, Bob," she said. "Let's eat, drink, and be merry."

He went to the door to get the tray and noticed the three robots and two Tharnarian guards down the left hand stretch of corridor and the same number down the right. Virginia came up beside and said, "They're not taking any chances we won't be here in the morning, are they?"

"No," he said, picking up the tray. "None to speak of."

He carried the tray to the little table in the center of the room and Virginia seated herself across from him as she had done each meal for the past six months. But she toyed with the plastic spoon and did not begin to eat at once.

"I wonder why they made it a firing squad?" she asked. "You'd think they would have used something ultra-civilized and refined, such as some painless and flower-scented gas."

"Spies were executed with firing squads during the last Terran war, three hundred years ago," he said. He smiled thinly. "I suppose they consider us spies and want us to feel at home in the morning."

"I'm glad they do. I don't want it to be shut up in a room—I would rather be out under the open sky." She poked at the rim of her tray again. "They never did tell us why, Bob. They didn't tell us anything, only that they had no alternative. We didn't hurt any Tharnarians; we only destroyed one of their ships and some of their robots."

"We upset their sense of security and showed them they're not secure at all. I suppose they're afraid of an attack from Earth."

"They didn't tell us anything," she said again. "They act as though we were animals."

"No," he said, "they don't seem to have a very high opinion of our low position on the social evolution scale."

He began to eat in the manner of one who knows the body needs nourishment to take advantage of any opportunity for escape, even though the mind may be darkly certain that no such opportunity shall arise.

"You ought to eat a little, Ginny," he said.

She tried, and gave up after a few bites.

"I guess I'm just not hungry—not now," she said. She glanced at the darkened window where The Cat had become invisible. "How long until daylight again, Bob?"

He looked at his watch. "Seven hours."

"Seven hours?" A touch of wistfulness came into her voice. "I never noticed, before, how short the nights are."


The robot laid the material Tal-Karanth had requested on his desk, the records and tapes from the Terran ship, and withdrew. Tal-Karanth sighed wearily as he inserted the first tape in the projector, wondering again why he felt the vague dissatisfaction and wondering why he hoped to find an answer among the material from the Terran ship. It would be an all night task—and he could hardly expect to find more than he already knew. Tharnar was not safe and secure from discovery by Terrans in the years to come and faith in the robot fleet had been an illusion.

Before setting the projector in operation he put through a call to his daughter.

Thralna's image appeared before him, reclining on a couch while two robots worked at caring for her finger nails. She raised up a little as his image appeared before her and the robots stepped back.

"Yes, Father?" she asked.

She waited for him to speak, her wide gray eyes on his image and her jet-black curls framing her young and delicately beautiful face. For a moment she reminded him of someone; someone more mature and stronger—

With something of a shock he realized it was the Terran girl his daughter reminded him of; that the Terran girl seemed the more mature of the two although Thralna was twenty-eight and the Terran girl was twenty-one. They had the same gray eyes and black curls, the same curve to the jaw, the same chin and full lips....

But the similarity was only incidental. There was a grace and a gentleness to Thralna's beauty; a grace and gentleness that was the result of fifty thousand years of civilization. Beneath the superficial beauty of the barbarian girl lay only an animal-like vitality and potential violence....

"Yes, Father?" Thralna asked again in her carefully modulated voice.

"Are you going to the theatre tonight, Thralna?"

"Yes. Tonight's play was written by D'ret-Thon and it's supposed to be almost as good as one of the classics. Why do you ask, Father?"

"I called to tell you that I have to work late tonight. I may not be home until morning."

"Couldn't you let a robot do it?"

"No. I have to do it, myself."

"Does it have to do with those two aliens?"

"Yes."

A little frown of worry appeared and as quickly disappeared. Her slim fingers touched her forehead for a moment, to smooth away any vestige of a wrinkle, then she said, "It will be such a relief when they're finally disposed of. Whenever I think of how they might escape and get into the City, it frightens me. Are you sure they can't escape, Father?"

"There is no possibility of their escaping," he said. "You go ahead with your plans for the evening. Will you come home when the show is over?"

"Not for a while. Kin is taking me dancing, afterward."

"Where you went last time—the place where they were reviving the old dances?"

"No. Nobody goes there anymore. Those old dances were rather fun but they were so—so tiring. Our modern dances are much slower and more graceful, you know."

"All right, Thralna," he said in dismissal. "Enjoy yourself."

"Yes, Father."

She was reclining on the couch again, her eyes closed, when he switched off the image. He sat for a little while before turning on the tape projector, recalling his conversation with her and a feeling growing within him that he was almost on the verge of discovering still another menace to Tharnar.


Virginia held her hands to her face to shade her eyes as she looked out the window. "What you can see of the city from here is all bright with lights," she said, "but there's no one on the streets. Only some robots. Everyone in the city must be in bed."

"That's the way it's been every night," he said. "Early to bed and late to rise—they're an odd race. I've wondered what they do to pass away the time. But what they're doing now is something you should be doing—resting."

She turned away from the window. "I'm not sleepy. I keep thinking of The Cat out there waiting for us and how we might get to it if we could only get hold of a blaster."

"Which we can't try to do until they come for us in the morning. Some rest now might mean a lot then."

"All right, Bob." She went to him and sat beside him on his cot. "What is it now—how much more time?"

"About three hours."

She leaned her head against him and he put his arm around her. "I guess I am a little tired," she said. "But don't let me go to sleep."

"All right, Ginny."

"It's only three hours and never any more, if we aren't lucky in the morning. And if we aren't lucky, I don't want to have wasted our last three hours."


Tal-Karanth stood before the window again and watched the City as it slept in the pre-dawn darkness. How many slept in the City? Once there had been three million in the City but each census found the population to be less. Five years before there had been less than a million—two-thirds of the City was a beautiful shell that housed only the robots that cared for it.

What was wrong? And why had it never occurred to him before that there was something wrong?

He went back to his desk, where the material from the Terran ship littered the eternalloy top of it, and sat down again. He was tired, and frustrated. A menace faced Tharnar, and no one seemed to realize it. The coming of the barbarians had awakened him to the fallacy of trusting the robot fleet, but there was still another danger. And the robot fleet would be more helpless before the newly discovered danger than it would be before the Terran ships.

He pressed a button and music filled the room; music that had always before been soothing and restful to hear. But it sounded flat and meaningless compared with the throbbing barbarian music he had heard that night and he switched it off again.

What was wrong? It was one of the latest compositions; one that had been acclaimed as almost as good as one of the classics.

Almost as good.... Like the play Thralna had attended, like the art exhibits, the athletic records, the scientific discoveries, like everything in the City and on Tharnar. Almost as good—but never quite as good as they had been fifty thousand years before.

Was that part of the answer?

No—not part of the answer. Part of the problem, part of the danger greater than a barbarian invasion. There was no answer that he could see. Something had been lost by the Tharnarians fifty thousand years before and he was neither sure what it was nor how to give it back to them.

He pressed the button that would connect him with Security Officer Ten-Quoth. Of the two problems, it was only within his power to handle the immediate phase of the first problem; to make the final authorization of the execution of the Terrans.


Bob looked again at the window which had lightened to a pale gray square. It was already daylight outside; it would not be long until the guards came for them. Virginia had fallen asleep at last, more tired than she had thought, and she still slept with her head against his shoulder and with his arm around her to support her. He straightened his legs slowly, not wanting them to be numb from lack of circulation when the guards came and not wanting to awaken Virginia to grim reality any sooner than he had to.

But the slight movement was enough. She opened her eyes drowsily, then the sleepiness gave way to the hard jolt of remembrance and realization. She looked at the gray window and asked, "How much longer?"

"Within a few minutes."

"I wish you hadn't let me sleep."

"You were tired."

"I didn't want to sleep—I didn't think I would." Then she changed the subject, as though to keep it from going into the sentimental. "I see the robot never did come back for the tray. We'll be leaving a messy room, won't we? I wonder if they'll disinfect it to make sure it's clean when we're gone? You know"—she smiled a little—"fleas and things."

She lifted her face to kiss him on the cheek, then she rose and moved to the window.

"It's cloudy," she said. "There's a mist of rain falling and it's cloudy outside. I guess it's already later than we thought."

He went over to stand beside her and saw that the morning was alight with near-sunrise behind the gray clouds.

"It's out there waiting for us—The Cat," she said.

He saw it, standing silver-white in the gray morning, gleaming in the rain and with its slim, dynamic lines making it look as though it might at any moment hurl itself roaring into the sky.

"It's a beautiful ship," she said. "I wonder what they will do with it when they—"

A sound came from the far end of the corridor; a snapped command in Tharnarian. The command was followed at once by the sound of footsteps approaching their cell; the heavy tread of robots and the lighter, softer steps of the guards.

Virginia turned away from the window and they faced the cell door as they waited.

"This is it," she said.

"Are you afraid, Ginny?"

"Afraid?" She laughed up at him, a laugh that came only a little too quickly. "It's like a play, set a long time ago on Earth. Coffee and pistols at dawn. Only I don't think they're bringing us any coffee and if we get a pistol, it will have to be one of theirs."

"It isn't over with till the end—and maybe we can change the ending of this play for them."

"I'll be watching you, Bob, so I can help you the moment you make the try."

The Tharnarian guards stopped outside the door, their blasters in their hands. One of them unlocked the door and two robots entered, guards locking the big door behind the robots the moment they were inside. The robots carried no blasters, nothing but three lengths of chain.

The Tharnarian leader outside the door rasped a command:

"You will both turn to face the window, with your hands behind you."

Bob did not obey at once, but appraised the situation. The robots were massive things—more than six hundred pounds in weight, their metal bodies invulnerable to any attack he could make with his bare hands. But there was one chance in ten thousand: if he could catch the first robot by surprise and send it toppling into the cell door, its weight might be enough to break the lock of the door.

He struck it with his shoulder, all his weight and strength behind the attack, and Virginia's small body struck it a moment later.

But it was like shoving against a stone wall. The robot rocked for the briefest instant, then it threw out a foot to regain its balance. The other robot snapped a chain around his wrists while Virginia fought it.

"Don't, Ginny," he said, ceasing his own struggles. "It's no use, honey."

She stopped, then, and the robot jerked her arms around behind her back, to lock the second chain around her wrists.

She smiled up into his dark and sombre face. "We tried, Bob. They were just too big for us."

A third chain, longer than the first two, was produced. He felt the cool metal of it encircle his neck and heard the lock snap shut. The other end of it was locked around Virginia's neck.

The cell door was opened and the guard leader commanded, "Step forward. The robots will guide you."

They stepped forward, the robots beside them, gripping their arms with steel fingers. The chain around their necks rattled from the movement of walking, linking them together like a pair of captive wild animals. Bob wondered if the chain had been solely as another precaution to prevent their escape or if it had been a deliberate act of contempt. The Tharnarians feared them and, because they feared them, they hated them. Did it bolster the morale of the Tharnarians to deliberately treat them as though they were animals?

They stepped out into the cool dawn, into a small courtyard with a black stone wall at its farther side. The sky was bleakly gray and the rain was falling as a cold mist, dampening Virginia's face as she looked up at him.

"The last mile, Bob."

"Walk it straight and steady, Ginny. They're watching."

"How else would we walk it?" she asked calmly.

They came to the wall, where a metal ring had been set in the stone. There was a chain fastened to the ring and when the robots had swung them around with their backs to the wall, the free end of the chain was locked to the center of the chain around their necks.

Again, it could be an added precaution. Or it could be the final attempt to let their execution be like the killing of a pair of dangerous animals. It did not really matter, of course....

Two of the armed robots who had walked with the guards took up a position twenty feet in front of them, blasters in their metal hands. The robots who had chained them stepped to one side, away from the line of fire. The leader of the guards lifted his arm to look at his watch and said something to the robots. The robots lifted their blasters at the words and leveled them, one aimed at Virginia's heart and one at Bob's.

But the expected blast did not come. The guard leader continued to observe his watch. Apparently the first command had meant only: "Aim." The "Fire" command would come when the hands of the watch reached the thirty-three twelve mark.

Virginia's shoulder was warm against his arm. But her hand, when it found his behind their backs, was cold.

"They cheated us," she said. "We were supposed to have a whole firing squad."

The guard leader gave another command and there was a double click as the robots pressed the buttons that would ready their blasters for firing. Virginia swayed a little for the first time, a movement too small for the Tharnarians to see and one from which she recovered almost at once.

"It's—I'm all right," she said. "I'm not afraid, Bob."

"Of course you're not, Ginny—of course you're not."

The guard leader had returned his attention to his watch and the seconds went by; long seconds in which the only sound was the almost inaudible whisper of the rain against the stone wall behind them. Virginia looked up at him for the last time, the cold mist wet on her face.

"We've had a lot of fun together, Bob. We never expected it to end so soon, but we knew all the time that it might. We'll go together and that's the way we always wanted it to be, wherever and whenever it might happen."

Then she faced forward again and they waited, the rain whispering on the wall behind them and forming in crystal drops on the chain around their necks. She did not waver again as she stood beside him and he knew she would not when the end came.

The guard leader dropped his arm, as though he no longer needed to refer to his watch. He glanced at them very briefly then turned to the robots, his face revealing the command he was going to give.

Virginia's hand tightened on his own in farewell and he could feel the pulse of her wrist racing hard and fast. But she stood very straight as she looked into the blaster and they heard the final command to their robot-executioners:

"Dorend thendar!"


Thirty-three one.

Tal-Karanth looked again at the timepiece on the wall. Thirty-three one. At the end of eleven more small fractions of time, the Terrans would no longer exist.

What was life? What was the purpose behind it all? In fifty thousand years the Tharnarians were no nearer the answer than their ancestors had been. Why should there be life at all? Why not the suns and planets, created by chance, and devoid of life? And why even the suns and planets, the millions of galaxies racing outward across the illimitable expanse of space and time? Why the universe and why the life it contained? Why not just—nothing?

The barbarians had set out to find the answer within a hundred years after the building of their first interstellar ship. And Tharnar's interstellar ships had not been outside the system for fifty thousand years; no Tharnarian had been as far as Vendal for fifteen thousand years.

Why had the Tharnarians lost their curiosity; the curiosity and desire to learn that had created the past glory of Tharnar?

He thought again of what he had discovered that night; of one of the reasons why the Terrans had named their ship The Cat. It was not because a cat was a dangerous animal, as he and the others had thought. It was because the mission of The Cat would be to explore in unknown territory, because of an old Terran proverb: Curiosity killed a cat. He did not yet understand the second reason behind the name, but the first reason showed that the Terrans were not without a sense of humor. How long had it been since he had heard a Tharnarian laugh at himself, at his own failings or possibility of failure? Never.

Yet—wasn't that pride? What was wrong with the high-headed pride that admitted no inferiority, no failure? Wasn't fifty thousand years of civilization something of which to be extremely proud?

Thirty-three five.

He went to the window and pressed the button that would open it against the mechanical will of the automatic health-guard equipment. It slid open and he breathed the cool, moist air that smelled of wet earth and grass and the odor of the lana tree flowers; flowers that were closed against the rain and would not open until the sun came out.

The City was quiet in the gray of the morning. He could see one pedestrian and three moving vehicles in the entire visible portion of the City. The City, like the flowers of the lana trees, would not open into life until the storm was over and the sun was shining again.

Thirty-three nine.

The City, like the flowers of the lana trees. The beauty and perfection of them both was the result of fifty thousand years of breeding to bring about that perfection. The City, like the flowers of the lana trees....

But flowers were without purpose; were only—vegetation.

And what was the purpose of the City?

He did not know. He was the Supreme Executive of Tharnar, and he did not know.

Thirty-three ten.

He went back to his desk and switched on the three-dimensional projection of the scene that would be taking place in the courtyard behind the prison.




The man and girl stood chained to the wall and the robots were waiting for the third and last command from the guard leader, the blasters in their hands as steady as though held in vises and their metal faces impassive. He increased the magnification of the scene, drawing the images of the man and girl closer to him. There was no reading the man's face, other than the hardness and lack of fear. But on the face of the girl was a defiance that seemed to shine like a radiance about her. He was reminded of the physical similarity between the barbarian girl and his daughter. But now the similarity had faded to a shadow. There was something vital and alive about the barbarian girl, there was a beauty to her in the way she waited for death that was strange and wild by Tharnarian standards.

What had Thralna said the night before? "... Whenever I think of how they might escape and get into the City, it frightens me."

it frightens me

What if it was Thralna who stood before the robots? Would she have her Tharnarian pride as she looked into the black muzzle of the blaster and knew she had only a few more heart beats of life left? Would she stand with the bold defiance of the barbarian girl? Or would she drop to the ground and plead for her life?

He knew the answer. But it was not Thralna's fault that she was as she was. She was only like all the others of Tharnar.

Thirty-three eleven.

How different they were, the two barbarians and the men and women of Tharnar. Yet the difference would cease to exist within a few moments. When the man and girl were dead, when all the life and restless drive were gone from them and they lay still on the cold, wet ground, they would look the same as Tharnarians.

How did it feel to die in the cold dawn, on an alien world a thousand lightyears from your own? But they had known such a thing might happen to them. They had named their ship The Cat because of that. Because of that, and something else....

Suddenly, clearly, he understood the second reason for the name of their ship.

Thirty-three twelve.


The guard leader dropped his arm, to give the last command to the robots. Tal-Karanth's mind raced and he saw two things with vivid clarity:

He saw the inexorable decline of Tharnar and the City continuing down the centuries until the little spark that was left smouldered its last and was gone. And he saw the way death would obliterate the wild and savage beauty of the barbarian girl, knew that it would go when the life went from her, to leave her with a beauty that would be colorless by contrast, that would be like the beauty of a lana blossom—or a Tharnarian woman.

And he thought he could see the answer to the menace that faced Tharnar and the City.

"Dorend—"

The guard leader's first word of command came. Tal-Karanth's finger stabbed at one of the buttons along his desk. He shoved it down, to deactivate the robot-executioners, and they were frozen in immobility when the final word came:

"—thendar!"

He snapped the switch which connected him with the office of Security Officer Ten-Quoth and said:

"Have the chains taken from the Terrans and see that they are given comfortable and unguarded quarters. Tell them they have been pardoned by the Supreme Executive and that they are free to leave Tharnar whenever they wish."


It was mid-morning of the next day, bright and warm with a few fleecy white clouds drifting across the blue sky. Tal-Karanth stood before the window again, Vor-Dergal beside him, and watched the City come to life; slowly and leisurely, as it had come to life each mid-morning for the past fifty thousand years.

Vor-Dergal looked toward The Cat, where the boarding ramps had already been withdrawn and the airlocks closed.

"They're ready to go," he said. "I hope you haven't made a mistake in what you did. The other Terrans will learn of us now, and when they come...." He let the sentence trail off, unfinished.

"We have a great deal to gain by the coming of the Terrans," Tal-Karanth said, "and little to lose."

"Little to lose?" Vor-Dergal asked. "We have Tharnar and the City to lose; we have our lives and our civilization to lose."

"Yes, our civilization," Tal-Karanth said. "Our god that we worshipped—our civilization. Look, Vor—listen to what I have to say:

"I did some thinking the night the Terrans were waiting to be executed. I'm afraid it was probably one of the few times for thousands of years that a Tharnarian ever tried to critically examine the Tharnarian way of life. I started from the beginning, more than fifty thousand years ago, when the interstellar ships of Tharnar were actually interstellar and were manned by men instead of robots.

"It was a good start we made in interstellar exploration, but it didn't last very long. We wanted to associate with our cultural peers, and there weren't any. We didn't attempt to make any contact with the primitive races we found. We felt that there would be no point in doing so. Tharnar possessed the highest—and the only—civilization in all the explored regions of the galaxy and younger races had nothing to offer us.

"The time came when no more exploration ships were sent out. We retired to Tharnar and Vendal and surrounded them with a robot-operated fleet, to keep out the inferior races when they finally did learn how to build spaceships. We devoted ourselves to our social culture and became imbued with self-satisfaction, with the assurance that we of Tharnar possessed the full flowering of culture and progress. We withdrew into a shell of complacency and each generation lived out its life with comfortable, methodical, sameness. And our robot-operated fleet was on guard to prevent any other race from annoying us, from disturbing us in the wisdom and serenity of our way of life.

"Fifteen thousand years ago, the last of us on Vendal returned to the more ideal world of Tharnar. And there was plenty of room for them on Tharnar by then. The population had been decreasing for thousands of years—it's decreasing right now. Women don't want to have children anymore—it's an inconvenience for them. They want comfort; the full stomach, the soft couch, the attention of their robots. And men are the same.

"There is no longer any incentive for living on Tharnar other than to duplicate the lives of our ancestors. There is nothing new, nothing to be done that has not already been done better. So we lapse into an existence of placid satisfaction with the status quo—we vegetate. We're like plants that have been seeded in the same field for so many centuries that the fertility of the soil is exhausted. This barren field in which we grow is our own form of culture.

"Do you see what the ultimate end will have to be, Vor?"

He had thought old Vor-Dergal would reply with a heated defense of Tharnarian civilization, but he did not. Instead, he said, "If the present trend continues, there will come a time when there will be more robots in the guard ships than there will be Tharnarians for them to guard. But is the other better, the destruction at the hands of the barbarians?"

"Destruction? It's within their power to destroy us, but why should they? It will be unpleasant for many Tharnarians to contemplate, but an unbiased study of the Terrans shows that they would not want the things we have on Tharnar and in the City; that they would not consider Tharnar and the City worth the trouble of conquest."

"A conjecture," Vor-Dergal said. "And, even if you are right and the Terrans never come to destroy us—what have we to gain by taking this risk?"

"New life. We've been too long in the barren field of our own culture. We've lost our curiosity, our desire to learn, our sense of humor that would permit us to make honest self-evaluations, our pride and courage. And in losing these things, we lost our racial urge to survive.

"Look at the City this morning, Vor. See how slowly it moves; listen to how still it is for a city that contains almost a million people. Do you know what this day is for the City? It's one more act, to be added to all the thousands of acts in the past, in the City's rehearsal for extinction.

"The Terrans have what we lost. They're a young race with a vitality that's like a fire where our own is like a dying spark. That's why I let those two go; why I want the others of their kind to know of Tharnar and come here. It's not too late for us; not yet too late for contact with these Terrans to give back to us all these things we lost."


In the pause following his words the quiet of the City was suddenly shattered by the thunder of The Cat's drives. It lifted, shining and slender and graceful, and hurled itself up into the blue sky. Tal-Karanth watched it until it was a bright star, far away and going out into the universe beyond, until the sound of its drives had faded and gone.

He looked away from the sky and back to the slowly moving, softly whispering City; the City that was dying and did not know it. He felt the stirring of an uneasiness within him; a strange non-physical desire for something. It was the first time in his life he had ever felt such a sensation; it was something so long gone from the Tharnarians that the Tharnarian word for it was obsolete and forgotten. But the Terran word for it was wanderlust.

"I almost wish I could have gone with them, Vor," he said. "They're going to try to reach the heart of the galaxy and see if they can find the answer to Creation. And we on Tharnar spend our lives sipping sweet drinks as we discuss trifles and wait for the sun to shine warm enough for us to emerge from our air-conditioned houses."

"If you're right in thinking that Terrans won't come to plunder Tharnar and the City," Vor-Dergal said, "then it would be interesting to know what those two find when they reach the center of the galaxy. If they don't get killed long before they reach it."

"I think any hostile forms of life they encounter will find them hard to kill," Tal-Karanth said. "We paid a high price for their capture, remember? There were two Terran proverbs behind the name of their ship. It took me quite a while to understand the second one but when I did, I realized the true extent of Terran determination and self-confidence.

"Their mission was to explore across the unknown regions of space. They knew it would be dangerous, very dangerous. So they named their ship 'The Cat' partly because of an old Terran proverb: 'Curiosity killed a cat.' But that was only half the reason behind the name. They intended to reach the center of the galaxy and they didn't intend to let anything stop them. So there was a second meaning behind the naming of their ship:

"'A cat has nine lives.'"