Buy Jupiter and Other Stories Part 22

"Serious study began with Almirante, who either discovered thiotimoline, or rediscovered it, if the Azimuth/Asymptote tale is accepted. Almirante worked out the theory of hypersteric hindrance and showed that the molecule of thiotimoline is so distorted that one bond is forced into extension through the temporal dimension into the past; and another into the future.

"Because of the future-extension, thiotimoline can interact with an event that has not yet taken place. It can, for instance, to use the cla.s.sic example, dissolve in water approximately one second before the water is added.

"Thiotimoline is, of course, a very simple compound, comparatively. It has, indeed, the simplest molecule capable of displaying endochronic properties-that is, the past-future extension. While this makes possible certain unique devices, the true applications of endochronicity had to await the development of more complicated molecules; polymers that combined endochronicity with firm structure.

"Pellagrini was the first to form endochronic resins and plastics, and, twenty years later, Cudahy demonstrated the technique for binding endochronic plastics to metal. It became possible to make large objects endochronic-entire s.p.a.ceships, for instance.

"Now let us consider what happens when a large structure is endochronic. I will describe it qualitatively only; it is all that is necessary. The theoreticians have it all worked out mathematically, but I have never known a physics-johnny yet who could pilot a starship. Let them handle the theory, then, and you handle the ship.

"The small thiotimoline molecule is extraordinarily sensitive to the probabilistic states of the future. If you are certain you are going to add the water, it will dissolve before the water is added. If there is even the slightest doubt in your mind as to whether you will add the water, the thiotimoline will not dissolve until you actually add it.

"The larger the molecule possessing endochronicity, the less sensitive it is to the presence of doubt. It will dissolve, swell, change its electrical properties, or in some way interact with water, even if you are almost certain you may not add the water. But then what if you don't, in actual fact, add the water? The answer is simple. The endochronic structure will move into the future in search of water; not finding it, it will continue to move into the future.

"The effect is very much that of the donkey following the carrot fixed to a stick and held two feet in front of the donkey's nose; except that the endochronic structure is not as smart as the donkey, and never gets tired.

"If an entire ship is endochronic-that is, if endochronic groupings are fixed to the hull at frequent intervals-it is easy to set up a device that will deliver water to key spots in the structure, and yet so arrange that device that although it is always apparently on the point of delivering the water, it never actually does.

"In that case, the endochronic groupings move forward in time, carrying all the ship with it and all the objects on board the ship, including its personnel.

"Of course, there are no absolutes. The ship is moving forward in time relative to the universe; and this is precisely the same as saying that the universe is moving backward in time relative to the ship. The rate at which the ship is moving forward, or the universe is moving backward, in time, can be adjusted with great delicacy by the necessary modification of the device for adding water. The proper way of doing this can be taught, after a fashion; but it can be applied perfectly only by inborn talent. That is what we will find out about you all; whether you have that talent."

Again he paused and appraised them. Then he went on, amid perfect silence: "But what good is it all? Let's consider starflights and review some of the things you have learned in school.

"Stars are incredibly far apart and to travel from one to another, considering the light-speed limit on velocity, takes years; centuries; millennia. One way of doing it is to set up a huge ship with a closed ecology; a tiny, self-contained universe. A group of people will set out and the tenth generation thereafter reaches a distant star. No one man makes the journey, and even if the ship eventually returns home, many centuries may have pa.s.sed.

"To take the original crew to the stars in their own lifetime, freezing techniques may keep them in suspended animation for virtually all the trip. But freezing is a very uncertain procedure, and even if the crew survives and returns home, they will find that many centuries have pa.s.sed on Earth.

"To take the original crew to the stars in their own lifetime, without freezing them, it is only necessary to accelerate to near-light velocities. Subjective time slows, and it will seem to the crew that it will have taken them only months to make the trip. But time travels at the normal rate for the rest of the universe, and when the crew returns they will find that although they, themselves, have aged and experienced no more than two months of time, perhaps, the Earth itself will have experienced many centuries.

"In every case, star travel involves enormous duration of time on Earth, even if not to the crew. One must return to Earth, if one returns at all, far into the Earth's future, and this means interstellar travel is not psychologically practical.

"But- But, But, graduates-" graduates-"

He peered piercingly at them and said in a low, tense voice, "If we use an endochronic ship, we can match the time-dilatation effect exactly with the endochronic effect. While the ship travels through s.p.a.ce at enormous velocity, and experiences a large slowdown in rate of experienced time, the endochronic effect is moving the universe back in time with respect to the ship. Properly handled, when the ship returns to Earth, with the crew having experienced, say, only two months of duration, the entire universe will have likewise experienced only two months' duration. At last, interstellar travel became practical. we use an endochronic ship, we can match the time-dilatation effect exactly with the endochronic effect. While the ship travels through s.p.a.ce at enormous velocity, and experiences a large slowdown in rate of experienced time, the endochronic effect is moving the universe back in time with respect to the ship. Properly handled, when the ship returns to Earth, with the crew having experienced, say, only two months of duration, the entire universe will have likewise experienced only two months' duration. At last, interstellar travel became practical.

"But only if very delicately handled.

"If the endochronic effect lags a little behind the time dilatation effect, the ship will return after two months to find an Earth four months older. This is not much, perhaps; it can be lived with, you might think; but not so. The crew members are out of phase. They feel everything about them to have aged two months with respect to themselves. Worse yet, the general population feels that the crew members are two months younger than they ought to be. It creates hard feelings and discomforts.

"Similarly, if the endochronic effect races a little ahead of the time-dilatation effect, the ship may return after two months to find an Earth that has not experienced any time duration at all. The ship returns, just as it is rising into the sky. The hard feelings and discomforts will still exist.

"No, graduates, no interstellar flight will be considered successful in this star fleet unless the duration to the crew and the duration to Earth match minute for minute. A sixty-second deviation is a sloppy job that will gain you no merit. A hundred-twenty-second deviation will not be tolerated.

"I know, graduates, very well what questions are going through your minds. They went through mine when I graduated. Do we not in the endochronic ship have the equivalent of a time machine? Can we not, by proper adjustment of our endochronic device, deliberately travel a century into the future, make our observations, then travel a century into the past to return to our starting point? Or vice versa, can we not travel a century into the past and then back into the future to the starting point? Or a thousand years, or a billion? Could we not witness the Earth being born, life evolving, the sun dying?

"Graduates, the mathematical-johnnies tell us that this sort of thing creates paradoxes and requires too much energy to be practical. But 1 tell you the hen with paradoxes. We can't do it for a very simple reason. The endochronic properties are unstable. Molecules that are puckered into the time dimension are sensitive indeed. Relatively small effects will cause them to undergo chemical changes that will allow unpuckering. Even if there are no effects at all, random vibrations will produce the changes that will unpucker them.

"In short, an endochronic ship will slowly go isochronic and become ordinary matter without temporal extension. Modem technology has reduced the rate of unpuckering enormously and may reduce it further still, but nothing we do, theory tells us, will ever create a truly stable endochronic molecule.

"This means that your starship has only a limited life as a starship. It must get back to Earth while its endochronicity still holds, and that endochronicity must be restored before the next trip.

"Now, then, what happens if you return out-of-time? If you are not very nearly in your own time, you will have no a.s.surance that the state of the technology will be such as to enable you to re-endochronicize your ship. You may be lucky if you are in the future; you will certainly be unlucky in the past. If, If, through carelessness on your part, or simply through lack of talent, you come back a substantial distance into the past, you will be certain to be stuck there because there will be no way of treating your ship in such a fashion as to bring it back into what will then be your future. through carelessness on your part, or simply through lack of talent, you come back a substantial distance into the past, you will be certain to be stuck there because there will be no way of treating your ship in such a fashion as to bring it back into what will then be your future.

"And I want you to understand, graduates," here he slapped one hand against the other, as though to emphasize his words, "there is no time in the past where a civilized astronautic officer would care to spend his life. You might, for instance, be stranded in sixth-century France or, worse still, twentieth-century America.

"Refrain, then, from any temptation to experiment with time.

"Let us now pa.s.s on to one more point which may not have been more than hinted at in your formal school days, but which is something you will be experiencing.

"You may wonder how it is that a relatively few endochronic atomic bonds placed here and there among matter which is overwhelmingly isochronic can drag an with it. Why should one endochronic bond, racing toward water, drag with it a quadrillion atoms with isochronic , bonds? We feel this should not happen, because of our lifelong experience with inertia.

"There is, however, no inertia in the movement toward past or future. If one part of an object moves toward the past or future, the rest of the object does so as well, and at precisely the same speed. There is no ma.s.s-factor at all. That is why it is as easy for the entire universe to move backward in time as for this single ship to move forward-and at the same rate.

"But there is even more to it than that. The time-dilatation effect is the result of your acceleration with respect to the universe generally. You learned that in grade school, when you took up elementary relativistic physics. It is part of the inertial effect of acceleration.

"But by using the endochronic effect, we wipe out the time-dilatation effect. If we wipe out the time-dilatation effect, then we are, so to speak, wiping out that which produces it. In short, when the endochronic effect exactly balances the time-dilatation effect, the inertial effect of acceleration is canceled out.

"You cannot cancel out one inertial effect without canceling them all. Inertia is therefore wiped out altogether and you can accelerate at any rate without feeling it. Once the endochronic effect is well-adjusted, you can accelerate from rest relative to Earth, to 186,000 miles per second relative to Earth in anywhere from a few hours to a few minutes. The more talented and skillful you are at handling the endochronic effect, the more rapidly you can accelerate.

"You are experiencing that now, gentlemen. It seems to you that you are sitting in an auditorium on the surface of the planet Earth, and I'm sure that none of you has had any reason or occasion to doubt the truth of that impression. But it's wrong just the same.

"You are in an auditorium, I admit, but it is not on the surface of the planet, Earth; not anymore. You-I-all of us-are in a large starship, which took off the moment I began this speech and which accelerated at an enormous rate. We reached the outskirts of the solar system while I've been talking, and we are now returning.

" At no time have any of you felt any acceleration, either through change in speed, change in direction of travel, or both, and therefore you have all a.s.sumed that you have remained at rest with respect to the surface of the Earth.

"Not at all, graduates. You have been out in s.p.a.ce all the time I was talking, and have pa.s.sed, according to calculations, within two million miles of the planet Saturn."

He seemed grimly pleased at the distinct stir in the audience.

"You needn't worry, graduates. Since we experience no inertial effects, we experience no gravitational effects either (the two are essentially the same), so that our course has not been affected by Saturn. We will be back on Earth's surface any moment now. As a special treat we will be coming down in the United Nations Port in Lincoln, Nebraska, and you will all be free to enjoy the pleasures of the metropolis for the weekend.

"Incidentally, the mere fact that we have experienced no inertial effects at all shows how well the endochronic effect matched the time-dilatation. Had there been any mismatch, even a small one, you would have felt the effects of acceleration-another reason for making no effort to experiment with time.

"Remember, graduates, a sixty-second mismatch is sloppy and a hundred-twenty-second mismatch is intolerable. We are about to land now; Lieutenant Prohorov, will you take over in the conning tower and oversee the actual landing?"

Prohorov said briskly, "Yes, sir," and went up the ladder in the rear of the a.s.sembly hall, where he had been sitting.

Admiral Vernon smiled. "You will all keep your seats. We are exactly on course. My ships are always exactly on course."

But then Prohorov descended again and came running up the aisle to the admiral. He reached him and spoke in a whisper. "Admiral, if this is Lincoln, Nebraska, something is wrong. All I can see are Indians; hordes of Indians. Indians in Nebraska, now, now, Admiral?" Admiral?"

Admiral Vernon turned pale and made a rattling sound in his throat. He crumpled and collapsed, while the graduating cla.s.s rose to its feet uncertainly. Ensign Peet had followed Prohorov onto the platform and had caught his words and now stood there thunderstruck.

Prohorov raised his arms. "All's well, ladies and gentlemen. Take it easy. The admiral has just had a momentary attack of vertigo. It happens on landing, sometimes, to older men."

Peet whispered harshly, "But we're stuck in the past, Prohorov."

Prohorov raised his eyebrows. "Of course not. You didn't feel any inertial effects, did you? We can't even be an hour off. If the admiral had any brains to go with his uniform, he would have realized it, too. He had just said said it, for G.o.d's sake." it, for G.o.d's sake."

"Then why did you say there was something wrong? Why did you say there are Indians out there?"

"Because there was and there are. When Admiral Sap comes to, he won't be able to do a thing to me. We didn't land in Lincoln, Nebraska, so there was something wrong all right. And as for the Indians-well, if I read the traffic signs correctly, we've come down on the outskirts of Calcutta."

Harry Harrison's anthology, in which THIOTIMOLINE TO THE STARS appeared, was called simply Astounding. Astounding. It had been Harry's aim to make it one last issue of that magazine. Not It had been Harry's aim to make it one last issue of that magazine. Not a.n.a.log a.n.a.log now, but now, but Astounding. Astounding.

There is nothing wrong with a.n.a.log, a.n.a.log, but to us old-timers no name change can possibly replace but to us old-timers no name change can possibly replace Astounding Astounding in our hearts. in our hearts.

In the spring of 1973 The Sat.u.r.day Evening Post, The Sat.u.r.day Evening Post, having reprinted a couple of my short pieces, asked me to write an original piece for them. On May 3, 1973, caught in the grip of inspiration, I wrote LIGHT VERSE in one quick session at the typewriter and scarcely had to change a word in preparing final copy. It appeared in the September-October 1973 issue of having reprinted a couple of my short pieces, asked me to write an original piece for them. On May 3, 1973, caught in the grip of inspiration, I wrote LIGHT VERSE in one quick session at the typewriter and scarcely had to change a word in preparing final copy. It appeared in the September-October 1973 issue of The Sat.u.r.day Evening Post. The Sat.u.r.day Evening Post.

LIGHT VERSE.

The very last person anyone would expect to be a murderer was Mrs. Avis Lardner. Widow of the great astronaut-martyr, she was a philanthropist, an art collector, a hostess extraordinary, and, everyone agreed, an artistic genius. But above all, she was the gentlest and kindest human being one could imagine.

Her husband, William J. Lardner, died, as we all know, of the effects of radiation from a solar flare, after he had deliberately remained in s.p.a.ce so that a pa.s.senger vessel might make it safely to s.p.a.ce Station 5.

Mrs. Lardner had received a generous pension for that, and she had then invested wisely and well. By late middle age she was very wealthy.

Her house was a showplace, a veritable museum, containing a small but extremely select collection of extraordinarily beautiful jeweled objects. From a dozen different cultures she had obtained relics of almost every conceivable artifact that could be embedded with jewels and made to serve the aristocracy of that culture. She had one of the first jeweled wrist.w.a.tches manufactured in America, a jeweled dagger from Cambodia, a jeweled pair of spectacles from Italy, and so on almost endlessly.

All was open for inspection. The artifacts were not insured, and there were no ordinary security provisions. There was no need for anything conventional, for Mrs. Lardner maintained a large staff of robot servants, all of whom could be relied on to guard every item with imperturbable concentration, irreproachable honesty, and irrevocable efficiency.

Everyone knew the existence of those robots and there is no record of any attempt at theft, ever.

And then, of course, there was her light-sculpture. How Mrs. Lardner discovered her own genius at the art, no guest at her many lavish entertainments could guess. On each occasion, however, when her house was thrown open to guests, a new symphony of light shone throughout the rooms; three-dimensional curves and solids in melting color, some pure and some fusing in startling, crystalline effects that bathed every guest in wonder and somehow always adjusted itself so as to make Mrs. Lardner's blue-white hair and soft, unlined face gently beautiful.

It was for the light-sculpture more than anything else that the guests came. It was never the same twice, and never failed to explore new experimental avenues of art. Many people who could afford light-consoles prepared light-sculptures for amus.e.m.e.nt, but no one could approach Mrs. Lardner's expertise. Not even those who considered themselves professional artists.

She herself was charmingly modest about it. "No, no," she would protest when someone waxed lyrical. "I wouldn't call it 'poetry in light.' That's far too kind. At most, I would say it was mere 'light verse.'" And everyone smiled at her gentle wit.

Though she was often asked, she would never create light-sculpture for any occasion but her own parties. "That would be commercialization," she said.

She had no objection, however, to the preparation of elaborate holograms of her sculptures so that they might be made permanent and reproduced in museums of art an over the world. Nor was there ever a charge for any use that might be made of her light-sculptures.

"I couldn't ask a penny," she said, spreading her arms wide. "It's free to all. After all, I have no further use for it myself." It was truer She never used the same light-sculpture twice.

When the holograms were taken, she was cooperation itself. Watching benignly at every step, she was always ready to order her robot servants to help. "Please, Courtney," she would say, "would you be so kind as to adjust the step ladder?"

It was her fashion. She always addressed her robots with the most formal courtesy.

Once, years before, she had been almost scolded by a government functionary from the Bureau of Robots and Mechanical Men. "You can't do that," he said severely. "It interferes with their efficiency. They are constructed to follow orders, and the more clearly you give those orders, the more efficiently they follow them. When you ask with elaborate politeness, it is difficult for them to understand that an order is being given. They react more slowly."

Mrs. Lardner lifted her aristocratic head. "I do not ask for speed and efficiency," she said. "I ask goodwill. My robots love me."

The government functionary might have explained that robots cannot love, but he withered under her hurt but gentle glance.

It was notorious that Mrs. Lardner never even returned a robot to the factory for adjustment. Their positronic brains are enormously complex, and once in ten times or so the adjustment is not perfect as it leaves the factory. Sometimes the error does not show up for a period of time, but whenever it does, u. S. Robots and Mechanical Men, Inc., always makes the adjustment free of charge.

Mrs. Lardner shook her head. "Once a robot is in my house," she said, "and has performed his duties, any minor eccentricities must be borne with. I will not have him manhandled."

It was the worse thing possible to try to explain that a robot was but a machine. She would say very stiffly, "Nothing that is as intelligent as a robot can ever be but but a machine. I treat them as people." a machine. I treat them as people."

And that was that!

She kept even Max, although he was almost helpless. He could scarcely understand what was expected of him. Mrs. Lardner denied that strenuously, however. "Not at all," she would say firmly. "He can take hats and coats and store them very well, indeed. He can hold objects for me. He can do many things."

"But why not have him adjusted?" asked a friend, once.

"Oh, I couldn't. He's himself. He's very lovable, you know. After all, a positronic brain is so complex that no one can ever tell in just what way it's off. If he were made perfectly normal there would be no way to adjust him back to the lovability he now has. I won't give that up."

"But if he's maladjusted," said the friend, looking at Max nervously, "might he not be dangerous?"

"Never," laughed Mrs. Lardner. "I've had him for years. He's completely harmless and quite a dear."

Actually he looked like all the other robots, smooth, metallic, vaguely human but expressionless.

To the gentle Mrs. Lardner, however, they were all individual, all sweet, all lovable. It was the kind of woman she was.

How could she commit murder?

The very last person anyone would expect to be murdered would be John Semper Travis. Introverted and gentle, he was in the world but not of it. He had that peculiar mathematical turn of mind that made it possible for him to work out in his mind the complicated tapestry of the myriad positronic brain-paths in a robot's mind.

He was chief engineer of U.S. Robots and Mechanical Men, Inc.

But he was also an enthusiastic amateur in light-sculpture. He had written a book on the subject, trying to show that the type of mathematics he used in working out positronic brain-paths might be modified into a guide to the production of aesthetic light-sculpture.

His attempt at putting theory into practice was a dismal failure, however. The sculptures he himself produced, following his mathematical principles, were stodgy, mechanical, and uninteresting.

It was the only reason for unhappiness in his quiet, introverted, and secure life, and yet it was reason enough for him to be very unhappy indeed. He knew knew his theories were right, yet he could not make them work. If he could but produce his theories were right, yet he could not make them work. If he could but produce one one great piece of light-sculpture- great piece of light-sculpture- Naturally, he knew of Mrs. Lardner's light-sculpture. She was universally hailed as a genius, yet Travis knew she could not understand even the simplest aspect of robotic mathematics. He had corresponded with her but she consistently refused to explain her methods, and he wondered if she had any at all. Might it not be mere intuition? -but even intuition might be reduced to mathematics. Finally he managed to receive an invitation to one of her parties. He simply had to see her.

Mr. Travis arrived rather late. He had made one last attempt at a piece of light-sculpture and had failed dismally.

He greeted Mrs. Lardner with a kind of puzzled respect and said, "That was a peculiar robot who took my hat and coat."

"That is Max," said Mrs. Lardner.

"He is quite maladjusted, and he's a fairly old model. How is it you did not return it to the factory?"

"Oh, no," said Mrs. Lardner. "It would be too much trouble."

"None at all, Mrs. Lardner," said Travis. "You would be surprised how simple a task it was. Since I am with U. S. Robots, I took the liberty of adjusting him myself. It took no time and you'll find he is now in perfect working order."

A queer change came over Mrs. Lardner's face. Fury found a place on it for the first time in her gentle life, and it was as though the lines did not know how to form.