Shatterday (29 page)

The older man reached Ian and extended his hand. "Cowper, sir. Justinian Cowper. Alchemist, metaphysician, consultant to the forces of time and space, ah yes,
time
! Do I perceive in you, sir, one only recently come to our little Valhalla, one in need of illumination? Certainly! Definitely, I can see that is the case."

Ian began to say something, almost anything, in response, but the wildly gesticulating old man pressed on without drawing a breath. "This most recent manifestation, the one we were both privileged to witness was, I'm certain you're aware, the pivotal moment at Waterloo in which the Little Corporal had his fat chewed good and proper. Fascinating piece of recent history, wouldn't you say?"

Recent
history? Ian started to ask him how long he had been in this gray place, but the old man barely paused before a fresh torrent of words spilled out.

"Stunningly reminiscent of that marvelous scene in Stendhal's
Charterhouse of Parma
in which Fabrizio, young, innocent, fresh to that environ, found himself walking across a large meadow on which men were running in all directions, noise, shouts, confusion … and he knew not what was happening, and not till several chapters later do we learn—ah, marvelous!—that it was, in fact, the Battle of Waterloo through which he moved, totally unaware of history in the shaping all around him. He was there, while not there. Precisely our situation, wouldn't you say?"

He had run out of breath. He stopped, and Ian plunged into the gap. "That's what I'd like to know, Mr. Cowper: what's happened to me? I've lost
everything
, but I can
remember
everything, too. I know I should be going crazy or frightened, and I
am
scared, but not out of my mind with it … I seem to
accept
this, whatever it is. I—I don't know how to take it, but I know I'm not feeling it yet. And I've been here a long time!"

The old man slipped his arm around Ian's back and began walking with him, two gentlemen strolling in confidence on a summer afternoon by the edge of a cool park. "Quite correct, sir, quite correct. Dissociative behavior; mark of the man unable to accept his destiny. Accept it, sir, I urge you; and fascination follows. Perhaps even obsession, but we must run that risk, mustn't we?"

Ian wrenched away from him, turned to face him. "Look, mister, I don't want to hear all that craziness! I want to know where I am and how I get out of here. And if you can't tell me, then leave me alone!"

"Nothing easier, my good man. Explanation is the least of it. Observation of phenomena, ah, that's the key. You can follow? Well, then: we are victims of the law of conservation of time. Precisely and exactly linked to the law of the conservation of matter; matter, which can neither be created nor destroyed. Time exists without end. But there is an ineluctable entropic balance, absolutely necessary to maintain order in the universe. Keeps events discrete, you see. As matter approaches universal distribution, there is a counterbalancing, how shall I put it, a counterbalancing 'leaching out' of time. Unused time is not wasted in places where nothing happens.
It goes somewhere
. It goes here, to be precise. In measurable units (which I've decided, after considerable thought, to call 'chronons')."

He paused, perhaps hoping Ian would compliment him on his choice of nomenclature. Ian put a hand to his forehead; his brain was swimming. "That's insane. It doesn't make sense."

"Makes perfectly
good
sense, I assure you. I was a top savant in my time; what I've told you is the only theory that fits the facts. Time unused is not wasted; it is leached out, drained through the normal space-time continuum and recycled. All this history you see shooting past us is that part of the time-flow that was wasted. Entropic balance, I assure you."

"But what am I doing here?"

"You force me to hurt your feelings, sir."

"
What am I doing here
?!"

"You wasted your life. Wasted time. All around you, throughout your life, unused chronons were being leached out, drawn away from the contiguous universe, until their pull on you was irresistible. Then you went on through, pulled loose like a piece of wood in a rushing torrent, a bit of chaff whirled away on the wind. Like Fabrizio, you were never really
there
. You wandered through, never seeing, never participating, and so there was nothing to moor you solidly in your own time."

"But how long will I stay here?"

The old man looked sad and spoke kindly for the first time: "Forever. You never used your time, so you have nothing to rely on as anchorage in normal space."

"But everyone here thinks there's a way out. I know it! They keep walking, trying to find an exit."

"Fools. There is no way back."

"But you don't seem to be the sort of person who wasted his life. Some of the others I've seen, yes, I can see that; but
you
?"

The old man's eyes grew misty. He spoke with difficulty. "Yes, I belong here …"

Then he turned and, like one in a dream, lost, wandered away. Lunatic, observing phenomena. And then gone in the grayness of time-gorged limbo. Part of a glacial period slid past Ian Ross and he resumed his walk without destination.

And after a long, long time that was timeless but filled with an abundance of time, he met Catherine.

He saw her as a spot of darkness against the gray limbo. She was quite a distance away, and he walked on for a while, watching the dark blotch against gray, and then decided to change direction. It didn't matter. Nothing mattered: he was alone with his memories, replaying again and again.

The sinking of the Titanic wafted through him.

She did not move, even though he was approaching on a direct line.

When he was quite close he could see that she was sitting cross-legged on nothingness; she was asleep. Her head was propped in one hand, the bracing arm supported by her knee. Asleep.

He came right up to her and stood there simply watching. He smiled. She was like a bird, he thought, with her head tucked under her wing. Not really, but that was how he saw her. Though her cupped hand covered half her face he could make out a sweet face, very pale skin, a mole on her throat; her hair was brown, cut quite short. Her eyes were closed: he decided they would be blue.

The Greek senate, the age of Pericles, men in a crowd—property owners—screaming at Lycurgus' exhortations in behalf of socialism. The shadow of it sailed past not very far away.

Ian stood staring, and after a while he sat down opposite her. He leaned back on his arms and watched. He hummed an old tune the name of which he did not know.

Finally, she opened her brown eyes and stared at him.

At first momentary terror, shock, chagrin, curiosity. Then she took umbrage. "How long have
you
been there?"

"My name is Ian Ross," he said.

"I don't care what your name is!" she said angrily. "I asked you how long you've been sitting there watching me?"

"I don't know. A while."

"I don't like being watched; you're being very rude."

He got to his feet without answering, and began walking away. Oh well.

She ran after him. "Hey, wait!"

He kept walking. He didn't have to be bothered like that. She caught up with him and ran around to stand in front of him. "I suppose you just think you can walk off like that!"

"Yes, I can. I'm sorry I bothered you. Please get out of my way if you don't want me around."

"I didn't say that."

"You said I was being rude. I am never rude; I'm a very well-mannered person and you were just being insulting."

He walked around her. She ran after him.

"All right, okay, maybe I was a little out of sorts, I was asleep, after all."

He stopped. She stood in front of him. Now it was her move. "My name is Catherine Molnar. How do you do?"

"Not too well, that's how."

"Have you been here long?"

"Longer than I wanted to be here, that's for sure."

"Can you explain what's happened to me?"

He thought about it. Walking with someone would be a nice change. "Let me ask you something," Ian Ross said, beginning to stroll off toward the phantom image of the hanging gardens of Babylon wafting past them, "did you waste a lot of time, sitting around, not doing much, maybe watching television a lot?"

•

They were lying down side-by-side because they were tired. Nothing more than that. The Battle of the Ardennes, First World War, was all around them. Not a sound. Just movement. Mist, fog, turretless tanks, shattered trees all around them. Some corpses left lying in the middle of no man's land. They had been together for a space of time … it was three hours, it was six weeks, it was a month of Sundays, it was a year to remember, it was the best of times, it was the worst of times: who could measure it, there were no signposts, no town criers, no grandfather clocks, no change of seasons, who could measure it?

They had begun to talk freely. He told her again that his name was Ian Ross and she said Catherine, Catherine Molnar again. She confirmed his guess that her life had been empty. "Plain," she said. "I was plain. I
am
plain. No, don't bother to say you think I have nice cheekbones or a trim figure; it won't change a thing. If you want plain, I've got it."

He didn't say she had nice cheekbones or a trim figure. But he didn't think she was plain.

The Battle of the Ardennes was swirling away now.

She suggested they make love.

Ian Ross got to his feet quickly and walked away.

She watched him for a while, keeping him in sight. Then she got up, dusted off her hands though there was nothing on them, an act of memory, and followed him. Quite a long time later, after trailing him but not trying to catch up to him, she ran to match his pace and finally, gasping for breath, reached him. "I'm sorry," she said.

"Nothing to be sorry about."

"I offended you."

"No, you didn't. I just felt like walking."

"Stop it, Ian. I did, I offended you."

He stopped and spun on her. "Do you think I'm a virgin? I'm not a virgin."

His vehemence pulled her back from the edge of boldness. "No, of course you're not. I never thought such a thing." Then she said, "Well … I am."

"Sorry," he said, because he didn't know the right thing to say, if there
was
a right thing.

"Not your fault," she said. Which
was
the right thing to say.

•

From
nothing to nothing. Thirty-four years old, the properly desperate age for unmarried, unmotherhooded, unloved. Catherine Molnar, Janesville, Wisconsin. Straightening the trinkets in her jewelry box, ironing her clothes, removing and refolding the sweaters in her drawers, hanging the slacks with the slacks, skirts with the skirts, blouses with the blouses, coats with the coats, all in order in the closet, reading every word in
Time and Reader's Digest
, learning seven new words every day, never using seven new words every day, mopping the floors in the three-room apartment, putting aside one full evening to pay the bills and spelling out Wisconsin completely, never the WI abbreviation on the return envelopes, listening to talk radio, calling for the correct time to set the clocks, spooning out the droppings from the kitty box, repasting photos in the album of scenes with round-faced people, pinching back the buds on the coleus, calling Aunt Beatrice every Tuesday at seven o'clock, talking brightly to the waitress in the orange and blue uniform at the chicken pie shoppe, repainting fingernails carefully so the moon on each nail is showing, heating morning water for herself alone for the cup of herbal tea, setting the table with a cloth napkin and a placemat, doing dishes, going to the office and straightening the bills of lading precisely. Thirty-four.
From
nothing to nothing.

•

They lay side-by-side but they were not tired. There was more to it than that.

"I hate men who can't think past the pillow," she said, touching his hair.

"What's that?"

"Oh, it's just something I practiced, to say after the first time I slept with a man. I always felt there should be something original to say, instead of all the things I read in novels."

"I think it's a very clever phrase." Even now, he found it hard to touch her. He lay with hands at his sides.

She changed the subject. "I was never able to get very far playing the piano. I have absolutely
no
give between the thumb and first finger. And that's essential, you know. You have to have a long reach, a good spread I think they call it, to play Chopin. A tenth: that's two notes over an octave. A full octave, a
perfect
octave, those are just technical terms. Octave is good enough. I don't have that."

"I like piano playing," he said, realizing how silly and dull he must sound, and frightened (very suddenly) that she would find him so, that she would leave him. Then he remembered where they were and he smiled. Where could she go? Where could
he
go?

"I always hated the fellows at parties who could play the piano … all the girls clustered around those people. Except these days it's not so much piano, not too many people have pianos in their homes any more. The kids grow up and go away and nobody takes lessons and the kids don't buy pianos. They get those electric guitars."

"Acoustical guitars."

"Yes, those. I don't think it would be much better for fellows like me who don't play, even if it's acoustical guitars."

They got up and walked again.

•

Once they discussed how they had wasted their lives, how they had sat there with hands folded as time filled space around them, swept through, was drained off, and their own "chronons" (he had told her about the lunatic; she said it sounded like Benjamin Franklin; he said the man hadn't looked like Benjamin Franklin, but maybe, it might have been) had been leached of all potency.

Once they discussed the guillotine executions in the Paris of the Revolution, because it was keeping pace with them. Once they chased the Devonian and almost caught it. Once they were privileged to enjoy themselves in the center of an Arctic snowstorm that held around them for a measure of measureless time. Once they saw nothing for an eternity but were truly chilled—unlike the Arctic snowstorm that had had no effect on them—by the winds that blew past them. And once he turned to her and said, "I love you, Catherine."