Robert Silverberg - Trips

The second place you come to—the first having proved unsatisfactory, for one reason and another—is a city which could almost be San Francisco. Perhaps it is, sitting out there on the peninsula between the ocean and the bay, white buildings clambering over improbably steep hills. It occupies the place in your psychic space that San Francisco has always occupied, although you don’t really know yet what this city calls itself. Perhaps you’ll find out before long.

You go forward. What you feel first is the strangeness of the familiar, and then the utter heartless familiarity of the strange. For example the automobiles, and there are plenty of them, are all halftracks: low sleek sexy sedans that have the flashy Detroit styling, the usual chrome, the usual streamlining, the low-raked windows all agleam, but there are only two wheels, both of them in front, with a pair of tread-belts circling endlessly in back. Is this good design for city use? Who knows? Somebody evidently thinks so, here. And then the newspapers: the format is the same, narrow columns, gaudy screaming headlines, miles of black type on coarse grayish-white paper, but the names and the places have been changed. You scan the front page of a newspaper in the window of a curbside vending machine. Big photo of Chairman DeGrasse, serving as host at a reception for the Patagonian Ambassador. An account of the tribal massacres in the highlands of Dzungaria. Details of the solitude epidemic that is devastating Persepolis. When the halftracks stall on the hillsides, which is often, the other drivers ring silvery chimes, politely venting their impatience. Men who look like Navahos chant what sound like sutras in the intersections. The traffic lights are blue and orange. Clothing tends toward the prosaic, grays and dark blues, but the cut and slope of men’s jackets has an angular formal eighteenth- century look, verging on pomposity.

You pick up a bright coin that lies in the street; it is vaguely metallic but rubbery, as if you could compress it between your fingers, and its thick edges bear incuse lettering: TO GOD WE OWE OUR SWORDS. On the next block a squat two-story building is ablaze, and agitated clerks do a desperate dance. The fire engine is glossy green and its pump looks like a diabolical cannon embellished with sweeping flanges; it spouts a glistening yellow foam that eats the flames and, oxidizing, runs off down the gutter, a trickle of sluggish blue fluid. Everyone wears eyeglasses here, everyone. At a sidewalk cafe, pale waitresses offer mugs of boiling-hot milk into which the silent tight-faced patrons put cinnamon, mustard, and what seems to be Tabasco sauce. You offer your coin and try a sample, imitating what they do, and everyone bursts into laughter. The girl behind the counter pushes a thick stack of paper currency at you by way of change: UNITED FEDERAL COLUMBIAN REPUBLIC, each bill declares, GOOD FOR ONE EXCHANGE. Illegible signatures. Portrait of early leader of the republic, so famous that they give him no label of identification, bewigged, wall-eyed, ecstatic. You sip your milk, blowing gently. A light scum begins to form on its speckled surface. Sirens start to wail. About you, the other milk-drinkers stir uneasily. A parade is coming. Trumpets, drums, far-off chanting. Look! Four naked boys carry an open brocaded litter on which there sits an immense block of ice, a great frosted cube, mysterious, impenetrable. “Patagonia!” the onlookers cry sadly. The word is wrenched from them: “Patagonia!” Next, marching by himself, a mitered bishop advances, all in green, curtseying to the crowd, tossing hearty blessings as though they were flowers. “Forget your sins! Cancel your debts! All is made new! All is good!” You shiver and peer intently into his eyes as he passes you, hoping that he will single you out for an embrace. He is terribly tall but white-haired and fragile, somehow, despite his agility and energy. He reminds you of Norman, your wife’s older brother, and perhaps he is Norman, the Norman of this place, and you wonder if he can give you news of Elizabeth, the Elizabeth of this place, but you say nothing and he goes by.

And then comes a tremendous wooden scaffold on wheels, a true juggernaut, at the summit of which rests a polished statue carved out of gleaming black stone: a human figure, male, plump, arms intricately folded, face complacent. The statue emanates a sense of vast Sumerian calm. The face is that of Chairman DeGrasse. “He’ll die in the first blizzard,” murmurs a man to your left. Another, turning suddenly, says with great force, “No, it’s going to be done the proper way. He’ll last until the time of the accidents, just as he’s supposed to. I’ll bet on that.” Instantly they are nose to nose, glaring, and then they are wagering—a tense complicated ritual involving slapping of palms, interchanges of slips of paper, formal voiding of spittle, hysterical appeals to witnesses. The emotional climate here seems a trifle too intense. You decide to move along. Warily you leave the café, looking in all directions.

Before you began your travels you were told how essential it was to define your intended role. Were you going to be a tourist, or an explorer, or an infiltrator? Those are the choices that confront anyone arriving at a new place. Each bears its special risks.

To opt for being a tourist is to choose the easiest but most contemptible path; ultimately it’s the most dangerous one, too, in a certain sense. You have to accept the built-in epithets that go with the part: they will think of you as a foolish tourist, an ignorant tourist, a vulgar tourist, a mere tourist. Do you want to be considered mere? Are you able to accept that? Is that really your preferred self-image—baffled, bewildered, led about by the nose? You’ll sign up for packaged tours, you’ll carry guidebooks and cameras, you’ll go to the cathedral and the museums and the marketplace, and you’ll remain always on the outside of things, seeing a great deal, experiencing nothing. What a waste! You will be diminished by the very traveling that you thought would expand you. Tourism hollows and parches you. All places become one: a hotel, a smiling, swarthy, sunglassed guide, a bus, a plaza, a fountain, a marketplace, a museum, a cathedral. You are transformed into a feeble shriveled thing made out of glued-together travel folders; you are naked but for your visas; the sum of your life’s adventures is a box of leftover small change from many indistinguishable lands.

To be an explorer is to make the macho choice. You swagger in, bent on conquest; for isn’t any discovery a kind of conquest? Your existential position, like that of any mere tourist, lies outside the heart of things, but you are unashamed of that. And while tourists are essentially passive, the explorer’s role is active: an explorer intends to grasp that heart, take possession, squeeze. In the explorer’s role you consciously cloak yourself in the trappings of power: self-assurance, thick bankroll, stack of credit cards. You capitalize on the glamour of being a stranger. Your curiosity is invincible; you ask unabashed questions about the most intimate things, never for an instant relinquishing eye contact. You open locked doors and flash bright lights into curtained rooms. You are Magellan; you are Malinowski; you are Captain Cook. You will gain much, but—ah, here is the price!—you will always be feared and hated, you will never be permitted to attain the true core. Nor is superficiality the worst peril. Remember that Magellan and Captain Cook left their bones on tropic beaches. Sometimes the natives lose patience with explorers.