Slow Sculpture (3 page)

All violins have a scroll carved at the end of the neck—
all
of them. There is scrollwork on some guitars, none on others; it’s obviously optional. The back-bending spiral at the end of a violin’s neck is not optional, but traditional, and it has no function. Halvorsen nodded slightly and permitted his mind to wander away from the matter. It wasn’t important—not in itself; only settling it was important. His original, intuitive approval of guitars over violins was not a matter of moment either; his preference for the functional over the purely traditional was just that—a preference.

None of this required much of Halvorsen’s conscious effort or attention. The survey, the sequence, was virtually reflexive, and his thoughts moved as fish in some deep clear pool might move, hanging and hanging, fanning, then suddenly darting about with a swirl and a splash, to hang again fanning, alive and waiting.

He stood motionless, the fine rain soaking into the back of his collar and his eyes unseeking but receptive. Binoculars with mother-of-pearl; binoculars without. A watch with glass rubies in the face. Display cards: cheap combs, cheap wallets, cheap pens. An electric steam iron with a frayed cord. A rack of second-hand clothing.

Guns.

He felt again that vague dissatisfaction, set up a certain amount of lethargic resistance to it, and when it came through anyway he patiently gave it its head. He looked at the guns. What bothered him about the guns?

One had a pearl handle and rococo etching along the barrel, but that wasn’t it. He glanced down the row and settled on a .38 automatic, about as functional an artifact as could be imagined—small, square, here knurled and there polished, with the palm safety and
lock-safety just where they should be. And still he felt that faint disapproval, that dissatisfaction that spelled criticism. He widened his scan to all the guns, and felt it just as much. Just as little.

It was categorical then. It had to do with all these guns, or with all guns. He looked again, and again, and within this scope found no crevice for the prying of his reason, so he turned the problem on its back and looked again: what would a gun be like if it satisfied this fastidious intuition of his?

It came in a flash, and he hardly believed it: a flimsy structure of rolled sheet metal with a simple firing pin on a piece hinged and sprung like the business part of a rat-trap. There was no butt, there were no sights. No trigger either; just a simple catch and—what was that? —and a piece of string. He visualized it sitting on a polished surface on a wire stand, its thin barrel angled upwards about 45°, like a toy cannon. Its caliber was about .38. The feature which struck him most was the feeling of fragility, lightness, in the whole design. Design! What would an object like that be designed
for?

He looked again at the pawned guns. Among the things they had in common was massiveness. Breeches were cast steel, muzzles thick-walled, probably all rifled; parts were tempered, hardened, milled, designed, and built to contain and direct repeated explosions, repeated internal assaults by hot hurtling metal.

It was as if a little red signal-light flickered on the concept
repeated
. Was that it, that all these guns were designed for repeated use? Was he dissatisfied with that? Why?

He conjured up the image of a single-shot dueling pistol he had once handled: long-barreled, muzzle-loading, with a powder-pan for priming and a chip of flint fixed to the hammer. To his surprise he found the little metal red light still aflicker; this was a design that displeased him too, somewhere in the area labeled
repeated
.

Even a single-shot pistol was designed to be used over again; that must be it. Then to him, a gun satisfied its true function only if it was designed to be used only once.
Enough
is the criterion of optimum design, and in this case once was enough.

Halvorsen snorted angrily. He disliked being led by rational means to a patently irrational conclusion. He cast back over his reasoning,
looking for the particular crossroads where he must have taken a wrong turning.

There was none.

At this point his leisurely, almost self-powered curiosity was replaced by an incandescent ferocity of examination. Logic burned in Halvorsen as fury did in other men, and he had no tolerance for the irrational. He attacked it as a personal indignity, and would not let up until he had wrapped it up, tied it down, in the fabric of his understanding.

He let himself visualize the “gun” of his satisfied imagination, with its mousetrap firing mechanism, its piece of string, its almost useless flimsiness, and for a moment pictured police, cattlemen, Army officers handling such a ridiculous object. But the vision dissolved and he shook his head; the guns ordinarily used by such people satisfied his sense of function perfectly. He slipped (hypothetically) into the consciousness of such a man and regarded his gun—
a
gun—any gun with satisfaction. No, this seemed a personal matter, unlike the dissatisfaction everyone should feel (if they cared) about the extraordinary fact that automobiles are streamlined only where they show, and are powered by a heat-engine which is inoperable without a cooling system.

What’s so special about my mousetrap gun? he demanded of himself, and turned his eye inward to look at it again. There it sat, on a polished surface—table-top, was it? —with its silly piece of string leading forward toward him and its muzzle tilted upward, unabashedly showing off its sleazy construction.

Why could he see how thin the metal of that muzzle was? Because it was aimed right at the bridge of his nose.

Make a statement, Halvorsen, and test it. Statement: Other guns satisfy other men because they can be used over and over again. This gun satisfies me because it goes off once, and once is enough.

Test: A dueling pistol goes off only once; yet it can be reloaded and used again. Why not this? Answer: Because whoever uses a dueling pistol expects to be able to use it again. Whoever sees it used expects it will be used again, because the world goes on.

After Halvorsen’s mousetrap gun went off, the world wouldn’t
go on. Not for Halvorsen—which of course is the same thing. “I am the core and the center of the universe” is a fair statement for anyone.

So restate, and conclude: The optimum gun design is that which, having shot Halvorsen between the eyes, need no longer exist. Since
optimum
carried with it the flavor of
preferred performance
, it is fair to state that within himself Halvorsen found a preference for being shot to death. More specifically, for dying. Correction: for being dead—gladly.

Momentarily, Halvorsen felt such pleasure at having solved his problem that he neglected to look at the solution, and when he did, it chilled him far more than the fine rain could.

Why should he want to be dead?

He glanced at the racked guns in the pawnshop and saw them as if for the first time, each one very real and genuinely menacing. He shuddered, clung for a moment to the wet black steel of the gate, then abruptly turned away.

In all his thoughtful—thought-
filled
—life he had never consciously entertained such a concept. Perhaps this was because he was a receptive person rather than a transmissive one. What he collected he used on his external world—his job—rather than on himself. He had no need for the explanations and apologies, the interpretations and demands-to-be-heard of the outgoing person, so he had no need to indulge in self-seeking and the complicated semantics of ego-translation. He was rather a clearing-house for the facts he found, taking knowledge and experience from
here
and storing them virtually untouched until they could be applied
there
.

He walked slowly homeward, in a state that would be numbness except for the whirling, wondering core which turned and poked and worried at this revelation. Why should he want to be dead?

Philip Halvorsen loved being alive. Correction: He enjoyed being alive. (Question: Why the correction? File for later.) He was a vocational guidance worker employed by a national social service organization. He was paid what he should be, according to his sense of values, and thanks to the Bittelmans he lived a little better on it than he might otherwise. He did not work for money, anyway; his work
was a way of thinking, a way of life. He found it intriguing, engrossing, deeply satisfying. Each applicant was a challenge, each placement a victory over one or more of the enemies that plague mankind—insecurity, inferiority, blindness, and ignorance. Each time he looked up from his desk and saw a new applicant entering his cubicle, he experienced a strange silent excitement. It was a pressure, a power, like flicking on the master switch of a computing machine; he sat there with all relays open and all circuits blank, waiting for the answers to those first two questions: “What are you doing now?” and “What do you want to do?” Just that; it was enough for that indefinable sense of satisfaction or dissatisfaction to make itself known to him. And just as he had analyzed its source in the matter of guns, so he analyzed his clients. That flickering light signaling wrongness, misapplication, malfunction, misevaluation—all the flaws in design, the false goals, the frustrations and hurts of those who wonder if they have chosen the right vocation—that light burned on while he worked on each case, and would not go out until he found the answer. Once or twice he had wished, whimsically, that his imagined signal light would illuminate a sign for the client which said S
TEEPLEJACK
and for that one which said F
ROG
F
ARMER
, but it refused to be so obliging. It only told him when he was wrong. Being right involved laborious and meticulous work, but he did it gladly. And when at last he was satisfied, he frequently found that his work had just begun: to tell an eighty-dollar-a-week bank clerk that his proper niche is in freight-handling with a two-year apprenticeship at fifty is initially a thankless task. But Halvorsen knew how to be quiet and wait, and had become a past master at the art of letting a client fight himself, defeat himself, reconstruct himself, and at last persuade himself that the vocational counselor was right. And all of it, Halvorsen liked, from the challenge to the accomplishment. Why, why should there be a wish in him to have this cease, to end the world in which all these intriguing problems existed? And to be glad of its ending?

What would he advise a client, a stranger, if that stranger blurted out such a desire?

Well, he wouldn’t. It would depend. He would simply throw that
in with everything else about the client—age, education, temperament, marital status, I.Q., and all the rest of it, and let the death-wish throw its weight along with all the other factors. It would, however, predispose him to conclude that the man was intolerably misplaced in some area: in a marriage, a family situation, a social beartrap of some kind … or his job. His job. Was he, Halvorsen, judge and arbiter of occupations—was he in the wrong job?

He slouched along in the rain, huddled down into himself to escape a far more penetrating chill than this drenching mist. So uncharacteristically wrapped in his inward thought was he that he had taken three steps on dry pavement before he became aware of it. He stopped and took his bearings.

He stood under the marquee of the smallest and cheapest of the town’s four theaters. It was closed and dark, this being Sunday in a “blue-law” district, but dead bulbs and locked doors did not modify the shrillness of its decorations. Over the main entrance were two groups of huge letters, one for each of the two features on the bill. S
IN FOR SALE
, one shrieked, and the other blared back
SLAVES OF THE HELL-FLOWER
. Under these was a third sign, offering as a special added attraction Love Rites of a South Sea Eden. From the sidewalk on the far left, up to the marquee, across and down the other side was an arch of cardboard cut-outs of women, wilting and wet, unnaturally proportioned and inhumanly posed, with scraps of ribbon and drape, locks of hair and induced shadows performing a sort of indicative concealment on their unbelievable bodies. Over the box-office was the stern advice: A
DULTS ONLY
! ! ! and papering the supporting pillars just inside the mirrored cavern of a lobby were still photographs of highlights of the pictures: A bare-backed female with her hands trussed to a high tree-branch, being whipped; a man standing, gun in hand, over a delectable corpse whose head hung back and down over the edge of the bed so that her carefully arranged hair swept the floor, and some flyblown samples of the South Sea Eden with the portraits of its inhabitants smeared strategically with rubberstamp ink in angry and careless obedience to some local by-law.

At the best of times this sort of display left Phil Halvorsen cold.
At the worst of times (up to now) he would have felt a mild disgust leavened by enough amusement at the outhouse crudity of it to make it supportable—and forgettable. But at the moment things were a little worse than the worst had ever been before. It was as if his earlier unpleasant revelation had in some obscure way softened him up, opened a seam in a totally unexpected place in his armor. The display smote him like a blast of heat. He blinked and stepped back a pace, half-raising his hands and screwing his eyes shut. Behind the lids, the picture of his ridiculous one-shot cannon rose up roaring. He thought he could see a bullet emerging from its smoking muzzle like the tip of a hot black tongue. He shuddered away from the millisecond nightmare and opened his eyes, only to get a second and even more overwhelming reaction from the theater-front.

My God, what’s happening to me?
he silently screamed to himself. He pounded his forehead with his fists twice, then put his head down and ran up the street, up the hill. His photographic eye had picked up the banner inside the lobby, and as he ran, part of him coldly read it:

SEE (in flaming scarlet) the big-city orgies.

SEE the temptation of a teen-ager.

SEE lust run riot.

SEE the uncensored rites of an island cult.