Robert Silverberg - In Entropy’s Jaws

Skein reaches forth one tendril of his mind and engages Nissenson. With another tendril he snares Coustakis. Steadily, now, he draws the two tendrils together.

There is no way to predict the intensity of the forces that will shortly course through his brain. He has done what he could, checking the ego profiles of his client and the consultant, but that really tells him little. What Coustakis and Nissenson may be as individuals hardly matters; it is what they may become in communion that he must fear. Synergistic intensities are unpredictable. He has lived for a lifetime and a half with the possibility of a burnout.

The tendrils meet.

Skein the observer winces and tries to armor himself against the shock. But there is no way to deflect it. Out of Coustakis’s mind flows a description of the matter transmitter and a clear statement of the beam-spread problem; Skein shoves it along to Nissenson, who begins to work on a solution. But when their minds join it is immediately evident that their combined strength will be more than Skein can control. This time the synergy will destroy him. But he cannot disengage; he has no mental circuitbreaker. He is caught, trapped, impaled. The entity that is Coustakis/Nissenson will not let go of him, for that would mean its own destruction. A wave of mental energy goes rippling and dancing along the vector of communion from Coustakis to Nissenson and goes bouncing back, pulsating and gaining strength, from Nissenson to Coustakis. A fiery oscillation is set up. Skein sees what is happening; he has become the amplifier of his own doom. The torrent of energy continues to gather power each time it reverberates from Coustakis to Nissenson, from Nissenson to Coustakis. Powerless, Skein watches the energy-pumping effect building up a mighty charge. The discharge is bound to come soon, and he will be the one who must receive it. How long? How long? The juggernaut fills the corridors of his mind. He ceases to know which end of the circuit is Nissenson, which is Coustakis; he perceives only two shining walls of mental power, between which he is stretched ever thinner, a twanging wire of ego, heating up, heating up, glowing now, emitting a searing blast of heat, particles of identity streaming away from him like so many liberated ions—

Then he lies numb and dazed on the floor of his office, grinding his face into the psychosensitive carpet, while Coustakis barks over and over, “Skein? Skein? Skein? Skein?”

Like any other chronometric device, our inner clocks are subject to their own peculiar disorders and, in spite of the substantial concordance between private and public time, discrepancies may occur as the result of sheer inattention. Mach noted that if a doctor focuses his attention on the patient’s blood, it may seem to him to squirt out before the lancet enters the skin and, for similar reasons, the feebler of two stimuli presented simultaneously is usually perceived later…Normal life requires the capacity to recall experiences in a sequence corresponding, roughly at least, to the order in which they actually occurred. It requires in addition that our potential recollections should be reasonably accessible to consciousness. These potential recollections mean not only a perpetuation within us of representations of the past, but also a ceaseless interplay between such representations and the uninterrupted input of present information from the external world. Just as our past may be at the service of our present, so the present may be remotely controlled by our past: in the words of Shelley, “Swift as a Thought by the snake Memory stung.”

“Skein? Skein? Skein? Skein?”

His bottle is open and they are helping him out. His cabin is full of intruders. Skein recognizes the captain’s robot, the medic, and a couple of passengers, the little swarthy man from Pingalore and the woman from Globe Fifteen. The cabin door is open and more people are coming in. The medic makes a cuff-shooting gesture and a blinding haze of metallic white particles wraps itself about Skein’s head. The little tingling prickling sensations spur him to wakefulness. “You didn’t respond when the bottle told you it was all right,” the medic explains. “We’re through the canal.”

“Was it a good passage? Fine. Fine. I must have dozed.”

“If you’d like to come to the infirmary—routine check, only—put you through the diagnostat—”

“No. No. Will you all please go? I assure you, I’m quite all right.”

Reluctantly, clucking over him, they finally leave. Skein gulps cold water until his head is clear. He plants himself flatfooted in mid-cabin, trying to pick up some sensation of forward motion. The ship now is travelling at something like fifteen million miles a second. How long is fifteen million miles? How long is a second? From Rome to Naples it was a morning’s drive on the autostrada. From Tel Aviv to Jerusalem was the time between twilight and darkness. San Francisco to San Diego spanned lunch to dinner by superpod. As I slide my right foot two inches forward we traverse fifteen million miles. From where to where? And why? He has not seen Earth in twenty-six months. At the end of this voyage his remaining funds will be exhausted. Perhaps he will have to make his home in the Abbondanza system; he has no return ticket. But of course he can travel to his heart’s discontent within his own skull, whipping from point to point along the timeline in the grip of the fugues.

He goes quickly from his cabin to the recreation lounge.

The ship is a second-class vessel, neither lavish nor seedy. It carries about twenty passengers, most of them, like him, bound outward on one-way journeys. He has not talked directly to any of them, but he has done considerable eavesdropping in the lounge, and by now can tag each one of them with the proper dull biography. The wife bravely joining her pioneer husband, whom she has not seen for half a decade. The remittance man under orders to place ten thousand light-years, at the very least, between himself and his parents. The glittery-eyed entrepreneur, a Phoenician merchant sixty centuries after his proper era, off to carve an empire as a middleman’s middleman. The tourists. The bureaucrat. The colonel. Among this collection Skein stands out in sharp relief; he is the only one who has not made an effort to know and be known, and the mystery of his reserve tantalizes them.

He carries the fact of his crackup with him like some wrinkled dangling yellowed wen. When his eyes meet those of any of the others he says silently, You see my deformity? I am my own survivor. I have been destroyed and lived to look back on it. Once I was a man of wealth and power, and look at me now. But I ask for no pity. Is that understood?

Hunching at the bar, Skein pushes the node for filtered rum. His drink arrives, and with it comes the remittance man, handsome, young, insinuating. Giving Skein a confidential wink, as if to say, I know. You’re on the run, too.

“From Earth, are you?” he says to Skein.

“Formerly.”

“I’m Pid Rocklin.”

“John Skein.”

“What were you doing there?”

“On Earth?” Skein shrugs. “A Communicator. I retired four years ago.”

“Oh.” Rocklin summons a drink. “That’s good work, if you have the gift.”

“I had the gift,” Skein says. The unstressed past tense is as far into self-pity as he will go. He drinks and pushes for another one. A great gleaming screen over the bar shows the look of space: empty, here beyond the Panama Canal, although yesterday a million suns blazed on that ebony rectangle. Skein imagines he can hear the whoosh of hydrogen molecules scraping past the hull at eighty lights. He sees them as blobs of brightness millions of miles long, going zip! and zip! and zip! as the ship spurts along. Abruptly a purple nimbus envelopes him and he drops into a flashforward fugue so quickly there is not even time for the usual futile resistance. “Hey, what’s the matter?” Pid Rocklin says, reaching for him. “Are you all—” and Skein loses the universe.