She is wonderstruck. She could keep watching forever. But after yesterday she’s more conscious of the time. Before long, he would get sleepy again.
“I want to discuss with you, Nicholas, exactly how you’d like us to proceed.”
“We can watch some more of this footage. We can talk. As you wish.”
“I mean longer term. I’ll do whatever you say. If you want, I could take you back up to the station, and you could see if the people on Vreez-honk, Vreez…I’m sorry. You could see if your headquarters has sent any messages to you, there, during the last seven hundred years. And couldn’t you send them a message?”
“And then wait 124 years for a reply? If there’s anyone there to reply.” He shakes his head. If he could cry, he might cry.
She says nothing for a few seconds. “Well, if I have your permission to tell your story to the world—I mean, if you prefer that I wait until after you, after you’re gone to reveal everything, posthumously, I would completely understand. If you want to maintain your privacy, I mean.”
“Thank you. Thank you. But while I am very old, it’s true, I might have another thirty or forty or fifty years left. Vrizhongilians have lived to be two thousand.”
“Good!”
“But I think you would find it a great burden and disappointment to be obliged wait that long, would you not? And when someone else stumbles across the station in the meantime?” He leans forward. “I’m tired of keeping my secret. All right, Nancy? I’m ready.” He’d thought about saying, “All right, Ms. Zuckerman, I’m ready for my close-up,” but figured she probably wouldn’t get it.
She wipes away tears. “I thought I was going to have to convince you.”
“You know, my dear, I’ve had more than enough time to consider this.”
He lays out his thinking, his concerns, his plan. The biggest problem, he believes, will be persuading the world that the Arctic station is not some kind of military base, that no invasion of Earth is imminent. Before anything becomes public, he thinks it might make sense to get Rupert Murdoch on board, possibly even offer him some kind of media exclusive, in order to keep Fox News from terrifying Americans unnecessarily. Nancy thinks he’s joking. He assures her he is not.
“Now I know this will sound corny in the extreme. Especially given the ‘Santa’ business. But I believe the best way for us to create goodwill from the outset is to describe what I have in mind as, quote, ‘Gifts to the People of Earth.’”
He will hand over his chronicle—all 2.4 million words he has written and, “far more interesting, I should think,” all 73,496 of hours of video that he shot on every continent but Antarctica in every year from the early fifth century to the late nineteenth century.
He will tell everything he knows about life in our part of the Milky Way, corroborated by the library of text and images stored at the station. “It’s all badly out of date, of course,” he says, “but it’s better than nothing.”
And he will give to the people of Earth his surviving pieces of technology—in particular the batteries that power the video player and portable beacon and Arctic station, all still operating 1,581 years after installation. “I should think,” he says, “that some bright scientists somewhere will be able to reverse-engineer them.”
As she wonders how many billions of dollars his Vrizhongilian batteries might be worth, she feels a jolt of self-loathing. “This is going to be unbelievable, Nicholas.”
He smiles. “Let’s hope not.”
“I mean, this will be the biggest thing…ever.”
“I suppose. I do hope that people, anyway most people, will be glad to learn, finally, definitively, that they’re not alone in the universe.” Because, he thinks to himself, I know I am inexpressibly happy that my loneliness is finally about to end.
“Nicholas?”
“Yes?”
“May I hug you?”
STORIES
Michael Moorcock
THIS IS THE STORY OF MY FRIEND Rex Fisch who blew out his complicated brains in his Lake District library all over his damned books one Sunday afternoon last September. Naturally the place was a horror to clean, but Rex never really cared much about the mess he left in his wake. What pissed me off was the waste: each blasted cell was a story he’d never tell; a story no one else would ever tell. Rex knew how to hurt himself and the old friends who loved him. Only a few of us are now left. Cancer took Hawthorn, Hayley, Slade and Allard that same year. The first three had shared digs with Rex when he first lived in London. It didn’t seem fair of the bastard to deliberately deplete what remained of our joint memory.
As I said at his funeral Rex had more fiction in him than could ever come out, no matter how long he’d lived. A superb raconteur, he produced stories in every form, from dry, funny narrative verse to self-dramatising social lies. Novels, plays, short stories, comic strips, operas, movies, RPGs: throughout his career he was never stuck for a narrative. In that respect we were pretty much alike and shared a kind of discomfort at our own facility. We both identified with Balzac, sharing a fascination for Jacques Collin, his sinister and ubiquitous many-named master villain who set out to ruin La Torpille in Splendeurs et misères des courtisanes. Rex discovered that most people prefer a good story and a bit of conventional prejudice to honest ambiguity; they made their most profound life decisions based on tales they saw in the tabloids or on reality TV. That didn’t stop Rex telling the truth when it frequently occurred to him. Truth was always in there somewhere, even when he thought he was lying. For all his later right-wing posturing, he had, like Balzac, a way of tapping into poor peoples’ dreams and understanding what they wanted most in the world. I envied him his empathy, if not his ambition. There was one story he couldn’t write. I think it was what we were all waiting for and which might have brought him the literary recognition he longed for. But he believed Paris Review editors could “smell the pulp writer on you,” while as an editor I rejected stories because I could smell Paris Review on them. I believed we were too good for the reviews even when we appeared in them. The conventions of genre were staler in literary writing than Harlequin romances: exactly why Rex turned out to be the writer we most needed on Mysterious.
We were both six-two and shared the same colouring and humour, though Rex was already balding. I guess our differences came from our backgrounds. I was a Londoner. Rex had been born and raised in Wrigley, Texas, pop. 1,204, about forty miles from Waco. He’d believed everything they told him until he went to Austin where he found out how to doubt his small-town certainties, trading them for the snobberies of the UT literary enclave. Dumping his provincialism a little late, he never lost his reverence for academia. Furiously cynical, he was determined to tell readers what fools they were to believe his stories. Despite this, he seemed oddly innocent when he turned up in London fresh from the UT campus via Spain, with the remnants of his jaundice, an uncompleted creative-writing degree and a few sales to the American crime and sci-fi digests, to be disgusted by our rates, even lower than the U.S., but delighted when we bought whatever he wrote, at whatever length he did it. When we met we were both twenty-five. Literary powers like Julie Mistral had already called him the James M. Cain of his generation. Angus Wilson had compared me to Gerald Kersh and Arnold Bennett.
The “digests” were the pulps’ attempts to look more sophisticated, with abstract expressionist covers and cooler titles, but I had grown up reading the real pulps with their powerful pictures and raving shout lines (Donna was a dame who dared to be different—Kelly was a cop who craved to kill!). The quality of the fiction didn’t alter, just the presentation.
I found it hard to come in at the end of that era, working on the Falcon and Sexton Blake Library, but it had proved one thing to me. There were no such things as pulp writers. Bad writers like Carroll John Daly and brilliant ones like Dashiell Hammett just happened to write for the pulps. Mostly their reputation had to do with context. Jack Trevor Story would write a novel for Sexton Blake then, with minor modifi
cations, turn it into a novel for Secker and Warburg.
By the time I took it over, Hank Janson’s Mystery Magazine was about the last of the UK thriller digests and I had some crackbrained notion to lift it away from genre altogether and make it into something addressing the widest possible readership. By 1964 there were few short story mags left and most of those were generic. They ran romances, military adventures, mysteries and sci-fi. To get published and paid you had to adapt your work, usually by inserting a clunky rationalised plot. That way you earned a bit as you learned a bit. We didn’t want to write what we called Englit-fic: the styles and themes of which came out of universities in sad imitation of the great modernists. We wanted to write something that had the vitality of good commercial fiction and the subtle ambition of good literary fiction, reflecting the sensibilities and events of our times: stuff that would get us high with the sense of enthusiasm and engagement of Proust or Faulkner but with the disciplined vitality of genre fiction pulsing from every page.
A few of us talked about a “two-way street” to reunite junk, middle-brow and highbrow fiction. Some people out there had to be as frustrated as us, dissatisfied by pretty much everything on offer, literary or commercial. For ages people had discussed the “two cultures.” We might just be the guys to unite them: writing for a reader who knew a bit about poetry, painting and physics, enjoyed Gerald Kersh, Elizabeth Bowen and Mervyn Peake, merging realism with grotesquerie and doing it elegantly, eloquently. By 1963 we were publishing a few examples in the digests and with Billy Allard and Harry Hayley, my two closest writer friends; we made plans for a “slick” quarto magazine bringing together designers, artists, scientists, poets, but of course the cost of the art paper alone made publishers shake their heads.
Then Len Haynes, the decent old drunk who ran it forever, proposed that I take over Janson’s when he retired to live with his daughter in Majorca.
Married less than a year, Helena Denham and I lived in Colville Terrace, still Rackman’s Notting Hill fiefdom. We’d had our first daughter, Sara, and Helena, beautiful as ever with her pageboy chestnut hair framing a heart-shaped face, was furiously pregnant with Cass, our second. I’d been fired from Liberal Topics, the party magazine whose wages I’d taken in spite of promising Winston Churchill, when I was eleven, never to become a Liberal. So I needed Janson’s money. More important, it would be a chance to do what we’d been saying we should do for so long. I talked it over with Helena and the others.
When I went back to Dave and Howard Vasserman, the publishers, I made only three conditions: that I decide policy, that they let me change the title gradually and if our circulation went up they give me the paper and size I wanted. I would help them get mainstream distribution with their more upmarket titles. I convinced them I could make their imprint respectable enough to be taken on by the high-street retailers. Then I got my friends busy. We lacked a decent designer but I did my best. Our first issue would not merely offer a manifesto, we would attempt to demonstrate policy—and we’d have a lot of illustrations, one of the secrets, in my experience, of a successful periodical. They were Jack Hawthorn’s job.
Hayley started finishing a novella he’d been talking about, a weird thing in which the detective’s dreams informed his case. Allard began writing us a new serial, full of brooding metaphysical imagery borrowed from Dali and Ernst. Helena finished her alternate-world Nazi creeper. I drafted my editorial about pulp influences on William Burroughs, and Burroughs gave us a chapter from his new book. American beats and British pop artists had something in common with noir movies, our other great enthusiasm. Allard produced a guest editorial arguing that “the space age” needed a new lexicon, new literary ideas. I did a short under a regular pseudonym and the rest came from Janson’s stable of favourites.
All three of us were English but had known little conventional upbringing. Hayley had been orphaned by a buzz bomb, taken a job on a local paper before being conscripted into the RAF, studied metaphysics at Oxford where he’d met Allard who’d been raised in occupied France with an Anglo-Jewish mother who’d been on one of the last transports to Auschwitz, worked for the Resistance as a kid then come home not to prewar Mayfair fantasy but despairing suburban austerity, the world Orwell captured. After his conscription served in the RAF, he did physics at Oxford, where he met Harry. They both dropped out after a few terms, writing features and noirish sci-fi stories for mags like Authentic or Vargo Statten’s. Allard was qualified to fly obsolete prop planes, Hayley was a qualified radio operator and I’d done a couple of miserable ATC years before they abolished conscription about a nanosecond before I was due to be drafted, edited juvenile story papers, trade mags and Sexton Blake, so I had loads of editorial experience but little formal education.
We’d spent half our lives in the pub discussing why modern fiction was crap and why it needed an infusion of the methods and concerns of popular fiction, all of us having sold a bit to the surviving thriller and science fantasy pulps. I think we felt we knew what we were talking about, having been raised in the social margins, thanks to one trick of fate or another, and loved surrealism, absurdism, French new wave movies as well as Pound, Eliot, Proust and the rest. In common with a few other restless autodidacts of our day we loved anything containing Gabin’s smoking .38, Mitchum’s barking .45 or Widmark’s glittering knives, all mixed up with Brecht and Weill, Camus’ Fascist Caligula screaming “I’m still alive” and the black bars crossing the faces of Sartre’s Huis Clos, emphasizing the prisons in which we place ourselves. Into that mix we threw James Mason in Odd Man Out, Harry Lime, Gerald Kersh’s Night and the City, Bester’s Demolished Man, Bradbury’s Fahrenheit 451, Household’s Rogue Male, Lodwick’s Brother Death. We’d met the likes of Francis Bacon, Somerset Maugham and Maurice Richardson at the Colony, read Beckett, Miller and Durrell in Olympia Press and generally got our education from the best novelists, journalists and artists of our day. Allard liked Melville more than I did, Hayley preferred Kafka and I loved Meredith. We were agreed that their lessons needed to be brought back into contemporary culture via the popular arts. Borges, too, though his stuff was only just being done into English via Ferlinghetti’s City Lights press. We also thought that fiction should be able to carry as many narratives per paragraph as possible, using techniques borrowed from absurdism, futurism and combined with new ideas of our own. We’d thought there were hundreds of writers dying for the chance to do the same as us, but though a lot more readers welcomed what we made of Mysterious, contributors were slow in coming.
By 1965 we’d at least laid the foundations of the two-way street. Pop art came one way, pulp the other. The Beatles and Dylan were doing the sound track. They broke new ground and got paid for it, but most people had no real idea what we meant when we talked about combining “high” and “low” arts, in spite of the two cultures being as popular a subject in features pages as the big bang and planet-size computers. We wanted to rid pop fiction of its literalism, taking exaggeration for granted in ambitious work, but were only slowly developing a critical vocabulary, trying to bring a deeper seriousness to the novel, but were still frustrated, reckoning we were still missing a piece in the equation. Whittling the title slowly down to one word hadn’t been enough. We needed writers desiring to emulate modern classicism to help build a genuine bridge able to take the weight of our two-way traffic.
It took Rex turning up in 1965 to show us what we needed to convince readers and writers of our authority. Like Allard or Hayley, he wrote better than any other contemporary I knew. His sardonic style was deceptively simple. He, too, was a Balzac fan with a special love of Jacques Collin/Vautrin. We were almost exactly the same age. Like me, he’d supported himself since the age of sixteen. He’d climbed out of a family of father-dominated German Catholic drunks, dropping out of the University of Texas after selling a few stories to the digests which got him a couple of book contracts to fund the trip to Europe he felt was the next rung on his career ladder, which he planned with his frien
d Jake Slade, a fellow Texan Catholic and a master ironist.
I was only familiar with Rex’s world through what little fiction I’d read of Jim Thompson or what he’d described himself in Paine in Congress or The Clinic. I’d certainly never been to Texas and only knew Manhattan. Jake’s stories had never seen print; they were dry, sly and ticking with the energy of unexploded bombs. Rex’s were like Henry James on speed. Quick-mouthed contemporary clarity; good fast fiction fresh off the calendar and with plenty of class. Rooted in our familiar world.
Jake and Rex had planned to write a mystery together in Spain, travel around Europe for a while, then return either to Austin or to New York. But they hadn’t anticipated catching jaundice from bad acid in Spain and having to stay with friends in London until they could finish the book. Rex, having read about us in Juliette Masters’s NYT column, came to see me in the hope of raising some living money. He also brought some of Jake’s manuscripts and I immediately knew we were in luck. Neither had come from populist traditions but they thirsted for pulp. They brought the best academic ambitions to the subject matter we featured. They were exactly what I’d been looking for, roaring down from the other end of the two-way street and bringing a bunch of new writers and readers after them. Two for the price of one. Murder and the human soul. The face of society and the fabric of the future. Their intensity and intelligence lacked the hesitancy or vulgarity I’d rejected when posh literary agents thought they’d found somewhere to dump their clients’ awful bits of generic slumming, neither did they stink of the creative-writing class.
Sociable, a little formal, a knowing catalyst, Rex introduced me to friends he had known at UT, including the talented fine artists Peggy Zorin, Jilly Cornish and her husband, Jimmy, as well as others who were yet to leave Texas en route for Mysterious and London. At last we had a full set of talented contributors who could give us a substantial inventory, interacting with increased gravity, attracting other writers who added superb stories to our contents list, the best anyone had read in ages, combining a sophistication and vitality taken for granted today but representing a quantum jump at the time and making us the most celebrated fiction magazine of our day. The debate was suddenly over. We could demonstrate everything we’d discussed. That was what Rex Fisch did for Mysterious and the rough-and-ready movement we’d always denied was a movement. We entered a golden age. Almost every story we published was anthologized. A good many won prizes.