The Best of Joe Haldeman (43 page)

8 oz. lampblack

4 oz. gum arabic

1 quart methylated spirits

That last one is wood alcohol. The others ought to be available in Miami if you can
’
t find them on the Rock.

Aging the ink on the paper gets a little tricky. I haven
’
t been able to find anything about it in the libraries around here; no FORGERY FOR FUN & PROFIT. May check in New York before coming back.

(If we don
’
t find anything, I
’
d suggest baking it for a few days at a temperature low enough not to greatly affect the paper, and then interleaving it with blank sheets of the old paper and pressing them together for a few days, to restore the old smell, and further absorb the residual ink solvents.)

Toyed with the idea of actually allowing the manuscript to mildew somewhat, but that might get out of hand and actually destroy some of it
—
or for all I know we
’
d be employing a species of mildew that doesn
’
t speak French. Again, thinking like a true forger, which may be a waste of time and effort, but I have to admit is kind of fun. Playing cops and robbers at my age.

Well, I
’
ll call tonight. Miss you, Lena.

Your partner in crime,

John

~ * ~

11.
a divine gesture

When John returned to his place in Boston, there was a message on his answering machine: “John, this is Nelson Van Nuys. Harry told me you were in town. I left something in your box at the office and I strongly suggest you take it before somebody else does. I’ll be out of town for a week, but give me a call if you’re here next Friday. You can take me and Doris out to dinner at Panache.”

Panache was the most expensive restaurant in Cambridge. Interesting. John checked his watch. He hadn’t planned to go to the office, but there was plenty of time to swing by on his way to returning the rental car. The train didn’t leave for another four hours.

Van Nuys was a fellow Hemingway scholar and sometimes drinking buddy who taught at Brown. What had he brought ninety miles to deliver in person, rather than mail? He was probably just in town and dropped by. But it was worth checking.

No one but the secretary was in the office, noontime, for which John was obscurely relieved. In his box were three interdepartmental memos, a textbook catalog, and a brown cardboard box that sloshed when he picked it up. He took it all back to his office and closed the door.

The office made him feel a little weary, as usual. He wondered whether they would be shuffling people around again this year. The department liked to keep its professors in shape by having them haul tons of books and files up and down the corridor every couple of years.

He glanced at the memos and pitched them, irrelevant since he wasn’t teaching in the summer, and put the catalog in his briefcase. Then he carefully opened the cardboard box.

It was a half-pint Jack Daniel’s bottle, but it didn’t have bourbon in it. A cloudy greenish liquid. John unscrewed the top and with the sharp Pernod tang the memory came back. He and Van Nuys had wasted half an afternoon in Paris years ago, trying to track down a source of true absinthe. So he had finally found some.

Absinthe. Nectar of the gods, ruination of several generations of French artists, students, workingmen—outlawed in 1915 for its addictive and hallucinogenic qualities. Where had Van Nuys found it?

He screwed the top back on tightly and put it back in the box and put the box in his briefcase. If its effect really was all that powerful, you probably wouldn’t want to drive under its influence. In Boston traffic, of course, a little lane weaving and a few mild collisions would go unnoticed.

Once he was safely on the train, he’d try a shot or two of it. It couldn’t be all that potent. Child of the sixties, John had taken LSD, psilocybin, ecstasy, and peyote, and remembered with complete accuracy the quality of each drug’s hallucinations. The effects of absinthe wouldn’t be nearly as extreme as its modern successors. But it was probably just as well to try it first in a place where unconsciousness or Steve Allen imitations or speaking in tongues would go unremarked.

He turned in the rental car and took a cab to South Station rather than juggle suitcase, briefcase, and typewriter through the subway system. Once there, he nursed a beer through an hour of the Yankees murdering the Red Sox, and then rented a cart to roll his burden down to track 3, where a smiling porter installed him aboard the
Silver Meteor,
its range newly extended from Boston to Miami.

He had loved the train since his boyhood in Washington. His mother hated flying and so they often clickety-clacked from place to place in the snug comfort of first-class compartments. Eidetic memory blunted his enjoyment of the modern Amtrak version. This compartment was as large as the ones he had read and done puzzles in, forty years before—amazing and delighting his mother with his proficiency in word games—but the smell of good old leather was gone, replaced by plastic, and the fittings that had been polished brass were chromed steel now. On the middle of the red plastic seat was a Hospitality Pak, a plastic box encased in plastic wrap that contained a wedge of indestructible “cheese food,” as if cheese had to eat, a small plastic bottle of cheap California wine, a plastic glass to contain it, and an apple, possibly not plastic.

John hung up his coat and tie in the small closet provided beside where the bed would fold down, and for a few minutes he watched with interest as his fellow passengers and their accompaniment hurried or ambled to their cars. Mostly old people, of course. Enough young ones, John hoped, to keep the trains alive a few decades more.

“Mr. Baird?” John turned to face a black porter, who bowed slightly and favored him with a blinding smile of white and gold. “My name is George, and I will be at your service as far as Atlanta. Is everything satisfactory?”

“Doing fine. But if you could find me a glass made of glass and a couple of ice cubes, I might mention you in my will.”

“One minute, sir.” In fact, it took less than a minute. That was one aspect, John had to admit, that had improved in recent years: The service on Amtrak in the sixties and seventies had been right up there with Alcatraz and the Hanoi Hilton.

He closed and locked the compartment door and carefully poured about two ounces of the absinthe into the glass. Like Pernod, it turned milky on contact with the ice.

He swirled it around and breathed deeply. It did smell much like Pernod, but with an acrid tang that was probably oil of wormwood. An experimental sip: the wormwood didn’t dominate the licorice flavor, but it was there.

“Thanks, Nelson,” he whispered, and drank the whole thing in one cold fiery gulp. He set down the glass and the train began to move. For a weird moment that seemed hallucinatory, but it always did, the train starting off so smoothly and silently.

For about ten minutes he felt nothing unusual, as the train did its slow tour of Boston’s least attractive backyards. The conductor who checked his ticket seemed like a normal human being, which could have been a hallucination.

John knew that some drugs, like amyl nitrite, hit with a swift slap, while others creep into your mind like careful infiltrators. This was the way of absinthe; all he felt was a slight alcohol buzz, and he was about to take another shot, when it subtly began.

There were
things
just at the periphery of his vision, odd things with substance, but somehow without shape, that of course moved away when he turned his head to look at them. At the same time a whispering began in his ears, just audible over the train noise, but not intelligible, as if in a language he had heard before but not understood. For some reason the effects were pleasant, though of course they could be frightening if a person were not expecting weirdness. He enjoyed the illusions for a few minutes, while the scenery outside mellowed into woodsy suburbs, and the visions and voices stopped rather suddenly.

He poured another ounce and this time diluted it with water. He remembered the sad woman in “Hills Like White Elephants” lamenting that everything new tasted like licorice, and allowed himself to wonder what Hemingway had been drinking when he wrote that curious story.

Chuckling at his own—what? Effrontery?—John took out the 1921 Corona and slipped a sheet of paper into it and balanced it on his knees. He had earlier thought of the first two lines of the WWI pastiche; he typed them down and kept going:

The dirt on the sides of the trenches was never completely dry in the morning. Ol
’
Nick could find an old newspaper he would put it between his chest and the dirt when he went out to lean on the side of the trench and wait for the light. First light was the best time. You might have luck and see a muzzle flash. But patience was better than luck. Wait to see a helmet or a head without a helmet. Nick looked at the enemy line through a rectangular box of wood that went through the trench at about ground level. The other end of the box was covered by a square of gauze the color of dirt. A person looking directly at it might see the muzzle flash when Nick fired through the box. But with luck, the flash would be the last thing he saw.

Nick had fired through the gauze six times, perhaps killing three enemy, and the gauze now had a ragged hole in the center.

Okay, John thought, he’d be able to see slightly better through the hole in the center but staring that way would reduce the effective field of view, so he would deliberately try to look to one side or the other. How to type that down in a simple way? Someone cleared his throat,

John looked up from the typewriter. Sitting across from him was Ernest Hemingway, the weathered, wise Hemingway of the famous Karsh photograph.

“I’m afraid you must not do that,” Hemingway said.

John looked at the half-full glass of absinthe and looked back. Hemingway was still there. “Jesus Christ,” he said.

“It isn’t the absinthe.” Hemingway’s image rippled and he became the handsome teenager who had gone to war, the war John was writing about. “I am quite real. In a way, I am more real than you are.” As it spoke it aged: the mustachioed leading-man-handsome Hemingway of the twenties; the slightly corpulent, still magnetic media hero of the thirties and forties; the beard turning white, the features hard and sad and then twisting with impotence and madness, and then a sudden loud report and the cranial vault exploding, the mahogany veneer of the wall splashed with blood and brains and imbedded chips of skull. There was a strong smell of cordite and blood. The almost-headless corpse shrugged, spreading its hands. “I can look like anyone I want.” The mess disappeared and it became the young Hemingway again.

John slumped and stared.

“This thing you just started must never be finished. This Hemingway pastiche. It will ruin something very important.”

“What could it ruin? I’m not even planning to—”

“Your plans are immaterial. If you continue with this project, it will profoundly affect the future.”

“You’re from the future?”

“I’m from the future and the past and other temporalities that you can’t comprehend. But all you need to know is that you must not write this Hemingway story. If you do, I or someone like me will have to kill you.”

It gestured and a wand the size of a walking stick, half-black and half-white, appeared in its hand. It tapped John’s knee with the white end. There was a slight tingle.

“Now you won’t be able to tell anybody about me, or write anything about me down. If you try to talk about me, the memory will disappear—and reappear moments later, along with the knowledge that I will kill you if you don’t cooperate.” It turned into the bloody corpse again. “Understood?”

“Of course.”

“If you behave, you will never have to see me again.” It started to fade.

“Wait. What do you really look like?”

“This—” For a few seconds John stared at an ebony presence deeper than black, at once points and edges and surfaces and volume and hints of further dimensions. “You can’t really see or know,” a voice whispered inside his head. He reached into the blackness and jerked his hand back, rimed with frost and numb. The thing disappeared.

He stuck his hand under his armpit and feeling returned. That last apparition was the unsettling one. He had Hemingway’s appearance at every age memorized, and had seen the corpse in his mind’s eye often enough. A drug could conceivably have brought them all together and made up this fantastic demand—which might actually be nothing more than a reasonable side of his nature trying to make him stop wasting time on this silly project.

But that thing. His hand was back to normal. Maybe a drug could do that, too; make your hand feel freezing. LSD did more profound things than that. But not while arguing about a manuscript.

He considered the remaining absinthe. Maybe take another big blast of it and see whether ol’ Ernie comes back again. Or no—there was a simpler way to check.

The bar was four rocking and rolling cars away, and bouncing his way from wall to window helped sober John up. When he got there, he had another twinge for the memories of the past. Stained Formica tables. No service; you had to go to a bar at the other end. Acrid with cigarette fumes. He remembered linen tablecloths and endless bottles of Coke with the names of cities from everywhere stamped on the bottom and, when his father came along with them, the rich sultry smoke of his Havanas. The fat Churchills from Punch that emphysema stopped just before Castro could. “A Coke, please.” He wondered which depressed him more, the red can or the plastic cup with miniature ice cubes.