Ellison Wonderland

“Tell me, tell me!” they shouted, almost together.

There was silence for a moment. The woman-thing ran a scarlet-tipped hand across the hideous lizard snout, as though searching for a way to phrase what was coming. Then the single word sounded in the heart of the volcano.

Neither.

Krane and Marmorth stared past the woman-thing, stared at each other in confusion. “N-neither?” shouted Marmorth incredulously. “ Are you mad! Of course one of us is right! Me!” He was shaking fists at the gruesome being before him. Illusion, perhaps; but an illusion that was goading him.

“Prove it! Prove it!” screamed Krane, stepping forward, flat-footedly, as though seeking to strike the woman-thing. Then the voice gave them the solution and the proof that neither could contest, for both knew it to be true on a level that defied mere conviction.

You are both egomaniacs. You could not possibly be convinced of the other’s viewpoint. Not in a hundred million years. The message dies between you. You are both too tightly ensnared in yourselves!

The woman-thing suddenly began to shimmer. She became indistinct, and there were many shadow- forms of her, surrounding her body like halos. Abruptly, she disappeared from between them. Leaving them alone in the quickening darkness of the volcano’s throat.

Alone. Staring at each other with dawning comprehension, dawning belief.

They both realized it at the same moment. They both had the conviction of their cause, yet they both knew the womanthing had been right.

“Krane,” said Marmorth, starting toward the black-bearded man, “she’s right, you know. Perhaps we can get together and figure…”

The other had started toward the older man as he had spoken. “Yes, perhaps there’s something in what you say. Perhaps there’s a…”

At the instant they both realized it—the instant they considered the other’s viewpoint—the illusion barriers shattered, of course, and the red-hot lava poured in on them, engulfing both men in a blistering inferno.

All the Sounds of Fear

What kind of a culture are we breeding around us? A society in which everyone tries to be average, right on the norm, the common denominator, the median, the great leveler. College kids demonstrating a callow conservatism that urges them not to stick their heads above the crowd, not to be noticed. Political candidates so bland they must of necessity be faceless to gain identification with their equally faceless constituents. A sameness in thinking, in demeanor, in dress, in goals, in World Communism, famine, plague, pestilence or the singing of The Everly Brothers, I fear for the safety of my country and its people from this creeping paralysis of the ego. I have tried to say something about it in

All the Sounds of Fear

“Give me some light!”

Cry: tormented, half-moan half-chant, cast out against a whispering darkness: a man wound in white, arms upflung to roistering shadows, sooty sockets where eyes had been, pleading, demanding, anger and hopelessness, anguish from the soul into the world. He stumbled, a step, two, faltering, weak, the man returned to the child, trying to find some exit from the washing sea of darkness in which he trembled.

“Give me some light!”

Around him a Greek chorus of sussurating voices. Plucking at his garments he staggered toward an intimation of sound, a resting place, a goal. The man in pain, the figure of all pain, all desperation, and nowhere in that circle of painful light was there release from his torment. Sandaled feet stepping, each one above an abyss, no hope and no safety; what can it mean to be so eternally blind?

Again, “Give me some light!”

The last tortured ripping of the words from a throat raw with the hopelessness of salvation. Then the man sank to the shadows that moved in on him. The face half-hidden in chiaroscuro, sharp black, blanched white, down and down into the grayness about his feet, the circle of blazing-white light pinpointing him, a creature impaled on a shard of brilliance, till closing, closing, closing it swallowed him, all gone to black, darkness within and without, black even deeper, nothing, finis, end; silence.

Richard Becker, Oedipus, had played his first role. Twenty-four years later, he would play it again, as his last. But before that final performance’s curtain could be rung, twenty-four years of greatness would have to strut across stages of life and theater and emotion.

Time, passing.

When they had decided to cast the paranoid beggar in Sweet Miracles, Richard Becker had gone to the Salvation Army retail store and bought a set of rags that even the sanctimonious charity workers staffing the shop tried to throw out as unsaleable and foul. He bought a pair of cracked and soleless shoes that were a size too large.

He bought a hat that had seen so many autumns of rain its brim had bowed and withered under the onslaught. He bought a no-color vest from a suit long since destroyed and a pair of pants whose seat sagged raggedly and a shirt with three buttons gone and a jacket that seemed to typify every derelict who had ever cadged an hour’s sleep in an alley.

He bought these things over the protests of the kindly, white-haired women who were doing their bit for charity, and he asked if he might step into the toilet for a few moments to try them on; and when he emerged, his good tweed jacket and dark slacks over his arm, he was another man entirely. As though magically, coarse stubble