Lafferty, RA - SS - Eurema's Dam (rtf).pdf - R A Lafferty - przemosta

Eurema's Dam

R. A. LAFFERTY

Eccentric, outrageous, and packed with bizarre characters and incidents, R. A. Lafferty's stylistically unconventional short stories are as

much a part of the oral tall tale tradition as they are fantasy and science fiction. Lafferty began publishing fiction in the 1960s and was a

prominent figure in science fiction's iconoclastic New Wave, where his gnomic, challenging variations on standard science fiction and fantasy

themes bridged the gap between speculative and mainstream fiction. A stylistic maverick, Lafferty fills his stories with puns and wordplay that create

incongruous associations between their disparate elements. The style of his narratives is similarly adventurous and includes mixtures of sermons,

riddles, doggerel, epigrams, imagined reference works, and textbook treatises. He has written on subjects ranging from supernatural conspiracy to

evil adolescents, celestial revolutionaries, Native American lore, utopia, demons, and carnal love. In his novels he is fond of creating modern

corollaries for classic myths and legends. Space Chantey works the basic story of Homer's Odyssey into a wild space opera. In the Argos cycle,

which includes Archipelago, The Devil Is Dead, and Episodes of the Argo, Jason and the Argonauts are reincarnated as members of a former

World War II battle unit. In Past Master, Sir Thomas More is transported in time and space to the planet Astrobe, where he falls afoul of political

intrigue and suffers his seemingly inescapable martyr's death. Lafferty's preoccupation with religious archetypes and the battle (and sometimes

collusion) between Good and Evil gives much of his writing a mythic character. His short fiction has been collected in Nine Hundred

Grandmothers, Strange Doings, Does Anyone Else Have Something Further to Add? and numerous other collections. His novels include The Reefs of

Earth, Fourth Mansions, The Annals of Klepsis, and Arrive at Easterwine. He has also written a volume of essays on fantastic literature, It's Down

the Slippery Cellar Stairs. Interviews with him have been collected in Cranky Old Man from Tulsa.

H E WAS ABOUT the last of them.

What? The last of the great individualists? The last of the true creative geniuses of the

century? The last of the sheer precursors?

No. No. He was the last of the dolts.

Kids were being born smarter all the time when he came along, and they would be so forever

more. He was about the last dumb kid ever born.

Even his mother had to admit that Albert was a slow child. What else can you call a boy who

doesn't begin to talk till he is four years old, who won't learn to handle a spoon till he is six, who

can't operate a doorknob till he is eight? What else can you say about one who put his shoes on

the wrong feet and walked in pain? And who had to be told to close his mouth after yawning?

Some things would always be beyond him—like whether it was the big hand or the little hand

of the clock that told the hours. But this wasn't something serious. He never did care what time it

was.

When, about the middle of his ninth year, Albert made a breakthrough at telling his right

hand from his left, he did it by the most ridiculous set of mnemonics ever put together. It had to

do with the way a dog turns around before lying down, the direction of whirlpools and

whirlwinds, the side a cow is milked from and a horse is mounted from, the direction of twist of

oak and sycamore leaves, the maze patterns of rock moss and of tree moss, the cleavage of

limestone, the direction of a hawk's wheeling, of a shrike's hunting, and of a snake's coiling

(remembering that the mountain boomer is an exception, and that it isn't a true snake), the lay of

cedar fronds and of balsam fronds, the twist of a hole dug by a skunk and by a badger

(remembering pungently that skunks sometimes use old badger holes). Well, Albert finally

learned to remember which was right and which was left, but an observant boy would have

learned his right hand from his left without all that nonsense.

Albert never learned to write a readable hand. To get by in school he cheated. From a bicycle

speedometer, a midget motor, tiny eccentric cams, and batteries stolen from his grandfather's

hearing aid, Albert made a machine to write for him. It was small as a doodlebug and fitted onto

a pen or pencil so that Albert could conceal it with his fingers. It formed the letters beautifully as

Albert had set the cams to follow a copybook model. He triggered the different letters with keys no

bigger than whiskers. Sure it was crooked, but what else can you do when you're too dumb to

learn how to write passably?

Albert couldn't figure at all. He had to make another machine to figure for him. It was a

palm-of-the-hand thing that would add and subtract and multiply and divide. The next year when

he was in the ninth grade they gave him algebra, and he had to devise a flipper to go on the end of

his gadget to work quadratic and simultaneous equations. If it weren't for such cheating Albert

wouldn't have gotten any marks at all in school.

H E HAD ANOTHER difficulty when he came to his fifteenth year. People, that is an understatement.

There should be a stronger word than "difficulty" for it. Albert was afraid of girls.

What to do?

"I will build me a machine that is not afraid of girls," Albert said. He set to work on it. He had

it nearly finished when a thought came to him: "But no machine is afraid of girls. How will this

help me?"

His logic was at fault and analogy broke down. He did what he always did. He cheated.

He took the programming rollers out of an old player piano in the attic, found a gear case

that would serve, used magnetized sheets instead of perforated music rolls, fed a copy of

Wormwood's Logic into the matrix, and he had a logic machine that would answer questions.

"What's the matter with me that I'm afraid of girls?" Albert asked his logic machine.

"Nothing the matter with you," the logic machine told him. "It's logical to be afraid of girls.

They seem pretty spooky to me too."

"But what can I do about it?"

"Wait for time and circumstances. They sure are slow. Unless you want to cheat—"

"Yes, yes, what then?"

"Build a machine that looks just like you, Albert, and talks just like you. Only make it

smarter than you are, and not bashful. And, ah, Albert, there's a special thing you'd better put into

it in case things go wrong. I'll whisper it to you. It's dangerous."

So Albert made Little Danny, a dummy who looked like him and talked like him, only he was

smarter and not bashful. He filled Little Danny with quips from Mad Magazine and from Quip,

and then they were set.

Albert and Little Danny went to call on Alice.

"Why, he's wonderful," Alice said. "Why can't you be like that, Albert? Aren't you

wonderful, Little Danny. Why do you have to be so stupid, Albert, when Little Danny is so

wonderful?"

"I, uh, uh, I don't know," Albert said. "Uh, uh, uh."

"He sounds like a fish with the hiccups," Little Danny said.

"You do, Albert, really you do!" Alice screamed. "Why can't you say smart things like Little

Danny does, Albert? Why are you so stupid?"

This wasn't working out very well, but Albert kept on with it. He programmed Little Danny to

play the ukulele and to sing. He wished that he could program himself to do it. Alice loved

everything about Little Danny, but she paid no attention to Albert. And one day Albert had had

enough.

"Wha-wha-what do we need with this dummy?" Albert asked. "I just made him to am-to

amu-to to make you laugh. Let's go off and leave him."

"Go off with you, Albert?" Alice asked. "But you're so stupid. I tell you what. Let's you and

me go off and leave Albert, Little Danny. We can have more fun without him."

"Who needs him?" Little Danny asked. "Get lost, buster."

Albert walked away from them. He was glad that he'd taken his logic machine's advice as to

the special thing to be built into Little Danny. Albert walked fifty steps. A hundred.

"Far enough," Albert said, and he pushed a button in his pocket.

Nobody but Albert and his logic machine ever did know what that explosion was. Tiny wheels

out of Little Danny and small pieces of Alice rained down a little later, but there weren't enough

fragments for anyone to identify.

Albert had learned one lesson from his logic machine: never make anything that you can't

unmake.

Well, Albert finally grew to be a man, in years at least. He would always have something

about him of a very awkward teen-ager. And yet he fought his own war against those who were

teen-agers in years, and he defeated them completely. There was enmity between them forever.

Albert hadn't been a very well-adjusted adolescent, and he hated the memory of it. And nobody

ever mistook him for an adjusted man.

Albert was too awkward to earn a living at an honest trade. He was reduced to peddling his

little tricks and contrivances to shysters and promoters. But he did back into a sort of fame, and

he did become burdened with wealth.

He was too stupid to handle his own monetary affairs, but he built an actuary machin e to do

his investing and he became rich by accident. He built the damned thing too good and he

regretted it.

Albert became one of that furtive group that has saddled us with all the mean things in our

history. There was that Punic who couldn't learn the rich variety of hieroglyphic characters and

who devised the crippled short alphabet for wan-wits. There was the nameless Arab who couldn't

count beyond ten and who set up the ten-number system for babies and idiots. There was the

double-Dutchman with his movable type who drove fine copy out of the world. Albert was of their

miserable company.

Albert himself wasn't much good for anything. But he had in himself the low knack for

making machines that were good at everything.

His machines did a few things. You remember that anciently there was smog in the cities. Oh,

it could be drawn out of the air easily enough. All it took was a tickler. Albert made a tickler

machine. He would set it fresh every morning. It would clear the air in a circle three hundred

yards around his hovel and gather a little over a ton of residue every twenty-four hours. This

residue was rich in large polysyllabic molecules which one of his chemical machines could use.

"Why can't you clear all the air?" the people asked him.

"This is as much of the stuff as Clarence Deoxyribonucleiconibus needs every day," Albert

said. That was the name of this particular chemical machine.

"But we die of the smog," the people said. "Have mercy on us." "Oh, all right," Albert said.

He turned it over to one of his reduplicating machines to make as many copies as were necessary.

You REMEMBER THAT once there was a teen-ager problem? You remember when those little

buggers used to be mean? Albert got enough of them. There was something ungainly about them

that reminded him too much of himself. He made a teen-ager of his own. It was rough. To the

others it looked like one of themselves, the ring in the left ear, the dangling side-locks, the brass

knucks and the long knife, the guitar pluck to jab in an eye. But it was incomparably rougher

than the human teen-agers. It terrorized all in the neighborhood and made them behave, and dress

like real people. And there was one thing about the teen-age machine that Albert made: it was

made of such polarized metal and glass that it was invisible except to teen-ager eyes.

"Why is your neighborhood different?" the people asked Albert. "Why are there such good

and polite teen-agers in your neighborhood and such mean ones everywhere else? It's as though

something had spooked all those right around here."

"Oh, I thought I was the only one who didn't like the regular kind," Albert said.

"Oh, no, no," the people answered him. "If there is anything at all you can do about them—"

So Albert turned his mostly invisible teen-ager machine over to one of his reduplicating

machines to make as many copies as were necessary, and set one up in every neighborhood.

From that day till this the teen-agers have all been good and polite and a little bit frightened. But

there is no evidence of what keeps them that way except an occasional eye dangling from the jab

of an invisible guitar pluck.

So the two most pressing problems of the latter part of the twentieth century were solved,

but accidentally, and to the credit of no one.

As THE YEARS went by, Albert felt his inferiority most when in the presence of his own machines,

particularly those in the form of men. Albert just hadn't their urbanity or sparkle or wit. He was a

clod beside them, and they made him feel it.

Why not? One of Albert's devices sat in the President's Cabin et. One of them was on the

High Council of World-Watchers that kept the peace everywhere. One of them presided at Riches

Unlimited, that private-public-international instrument that guaranteed reasonable riches to

everyone in the world. One of them was the guiding hand in the Health and Longevity Foundation

which provided those things to everyone. Why should not such splendid and successful

machines look down on their shabby uncle who had made them?

"I'm rich by a curious twist," Albert said to himself one day, "and honored through a

mistake in circumstance. But there isn't a man or a machine in the world who is really my friend.

A book here tells how to make friends, but I can't do it that way. I'll make one my own way."

So Albert set out to make a friend.

He made Poor Charles, a machine as stupid and awkward and inept as himself.

"Now I will have a companion," Albert said, but it didn't work. Add two zeros together and

you still have zero. Poor Charles was too much like Albert to be good for anything.

Poor Charles! Unable to think, he made a—(but wait a moleskin-gloved minute here, Colonel,

this isn't going to work at all)—he made a machi—(but isn't this the same blamed thing all over

again?)—he made a machine to think for him and to—

Hold it, hold it! That's enough. Poor Charles was the only machine that Albert ever made that

was dumb enough to do a thing like that.

Well, whatever it was, the machine that Poor Charles made was in control of the situation and

of Poor Charles when Albert came onto them accidentally. The machine's machine, the device

that Poor Charles had constructed to think for him, was lecturing Poor Charles in a humiliating

way.

"Only the inept and deficient will invent," that damned machine's machine was droning. "Th e

Greeks in their high period did not invent. They used neither adjunct power nor instrumentation.

They used, as intelligent men or machines will always use, slaves. They did not descend to

gadgets. They, who did the difficult with ease, did not seek the easier way.

"But the incompetent will invent. The insufficient will invent. The depraved will invent. And

knaves will invent."

Albert, in a seldom fit of anger, killed them both. But he knew that the machine of his

machine had spoken the truth.

Albert was very much cast down. A more intelligent man would have had a hunch as to what

was wrong. Albert had only a hunch that he was not very good at hunches and would never be.

Seeing no way out, he fabricated a machine and named it Hunchy.

In most ways this was the worst machine he ever made. In building it he tried to express

something of his unease for the future. It was an awkward thing in mind and mechanism, a misfit.

Albert's more intelligent machines gathered around and hooted at him while he put it

together.

"Boy! Are you lost!" they taunted. "That thing is a primitive! To draw its power from the

ambient! We talked you into throwing that away twenty years ago and setting up coded power for

all of us."

"Uh—someday there may be social disturbances and all centers of power seized," Albert

stammered. "But Hunchy would be able to operate if the whole world were wiped smooth."

"It isn't even tuned to our information matrix," they jibed. "It's worse than Poor Charles. That

stupid thing practically starts from scratch."

"Maybe there'll be a new kind of itch for it," said Albert.

"It's not even housebroken!" the urbane machines shouted their indignation. "Look at that!

Some sort of primitive lubrication all over the floor."

"Remembering my childhood, I sympathize," Albert said.

"What's it good for?" they demanded.

"Ah—it gets hunches," Albert mumbled.

"Duplication!" they shouted. "That's all you're good for yourself, and not very good at that.

We suggest an election to replace you as—pardon our laughter—the head of these enterprises."

"Boss, I've got a hunch how we can block them there," the unfinished Hunchy whispered.

"They're bluffing," Albert whispered back. "My first logic machine taught me never to make

anything that I can't unmake. I've got them there and they know it. I wish I could think up things

like that myself."

"Maybe there will come an awkward time and I will be good for something," Hunchy said.

O NLY ONCE , AND that rather late in life, did a sort of honesty flare up in Albert. He did one thing

(and it was a dismal failure) on his own. That was the night of the year of the double millennium

when Albert was presented with the Finnerty-Hochmann Trophy, the highest award that the

intellectual world could give. Albert was certainly an odd choice for it, but it had been noticed

that almost every basic invention for thirty years could be traced back to him or to the devices

with which he had surrounded himself.

You know the trophy. Atop it was Eurema, the synthetic Greek goddess of invention, with

arms spread as if she would take flight. Below this was a stylized brain cut away to show the

convoluted cortex. And below this was the coat of arms of the Academicians: Ancient Scholar

rampant (argent); the Anderson Analyzer sinister (gules); the Mondeman Space-Drive dexter

(vair). It was a fine work by Groben, his ninth period.

Albert had a speech composed for him by his speech-writing machine, but for some reason he

did not use it. He went on his own, and that was disaster. He got to his feet when he was

introduced, and he stuttered and spoke nonsense!

"Ah—only the sick oyster produces nacre," he said, and they all gaped at him. What sort of

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