Fritz Leiber: The Best of Fritz Leiber

After a space he came slowly floating up out of the infinite softness of that bottomless black bed, and there were the stars again, and Tigerishka lifted up a little above him so that very faintly, by starlight, he saw the violet of her petaled irises and the bronzy green of her cheeks and her mulberry lips parted, careless that she showed her whitely-glinting fangs, and she recited:

“Tigerishka,” Paul wondered with a sleepy puzzlement, “I started to write that sonnet years ago, but I could get only three lines. Did you—”

“No,” she said softly, “you finished it by yourself. I found it, lying there in the dark behind your eyes, tossed in a corner. Rest now, Paul. Rest.”

To be thus aware of mortality, and of the ancient deeps within us while we live, is not morbid but mature. Leiber can even laugh with them—not at them, which is an evasion, but with them. He does so in

A Specter Is Haunting Texas. The satire there is more stark than in The Silver Eggheads, more reminiscent of Huxley or Heine though with a strong dash of. shall we say Buster Keaton? The hero, born and reared on the Moon, has in its low gravity grown up excessively tall and thin. Forced to visit Earth, he must wear a skeleton-like supportive framework which, with his black garb, makes him Death discarnate to the inhabitants of a crazy-quilt of nations formed after a nuclear war. One of his loves is equally a Death figure, the other Flesh itself. Needless to say, the author never puts it this crudely or obviously, and the overtones are infinite. Perhaps no other modern writers except James Branch Cabell and Vladimir Nabokov have gotten such fun out of the human tragicomedy; and they, for all their wit, have never had Leiber’s uninhibited gusto.

Let us hope for much more from this man, in whatever vein he may next select. Meanwhile, the volume in your hands gives a good overview. If you are already familiar with Fritz Leiber, you know you have a treat hi store. If it will be your first encounter with him, I envy you.

—POUL ANDERSON

SUDDENLY Joe Slattermill knew for sure he’d have to get out quick or else blow his top and knock out with the shrapnel of his skull the props and patches holding up his decaying home, that was like a house of big wooden and plaster and wallpaper cards except for the huge fireplace and ovens and chimney across the kitchen from him.

Those were stone-solid enough, though. The fireplace was chin-high, at least twice that long, and filled from end to end with roaring flames. Above were the square doors of the ovens in a row—his Wife baked for part of their living. Above the ovens was the wall-long mantelpiece, too high for his Mother to reach or Mr. Guts to jump any more, set with all sorts of ancestral curios, but any of them that weren’t stone or glass or china had been so dried and darkened by decades of heat that they looked like nothing but shrunken human heads and black golf balls. At one end were clustered his Wife’s square gin bottles. Above the mantelpiece hung one old chromo, so high and so darkened by soot and grease that you couldn’t tell whether the swirls and fat cigar shape were a whaleback steamer ploughing through a hurricane or a spaceship plunging through a storm of light-driven dust motes.

As soon as Joe curled his toes inside his boots, his Mother knew what he was up to. “Going bumming,” she mumbled with conviction. “Pants pockets full of cartwheels of house money, too, to spend on sin.” And she went back to munching the long shreds she stripped fumblingly with her right hand off the turkey carcass set close to the terrible heat, her left hand ready to fend off Mr. Guts, who stared at her yellow-eyed, gaunt-flanked, with long mangy tail a-twitch. In her dirty dress, streaky as the turkey’s sides, Joe’s Mother looked like a bent brown bag and her fingers were lumpy twigs.

Joe’s Wife knew as soon or sooner, for she smiled thin-eyed at him over her shoulder from where she towered at the centermost oven. Before she closed its door, Joe glimpsed that she was baking two long, flat, narrow, fluted loaves and one high, round-domed one. She was thin as death and disease hi her violet wrapper. Without looking, she reached out a yard-long, skinny arm for the nearest gin bottle and downed a warm slug and smiled again. And without a word spoken, Joe knew she’d said, “You’re going out and gamble and get drunk and lay a floozy and come home and beat me and go to jail for it,” and he had a flash of the last time he’d been in the dark gritty cell and she’d come by moonlight, which showed the green and yellow lumps on her narrow skull where he’d hit her, to whisper to him through the tiny window in the back and slip him a half pint through the bars.

And Joe knew for certain that this time it would be that bad and worse, but just the same he heaved up himself and his heavy, muffledly clanking pockets and shuffled straight to the door, muttering, “Guess I’ll roll the bones, up the pike a stretch and back,” swinging his bent, knobbly-elbowed arms like paddlewheels to make a little joke about his words.

When he’d stepped outside, he held the door open a hand’s breadth behind him for several seconds. When he finally closed it, a feeling of deep misery struck him. Earlier years, Mr. Guts would have come streaking along to seek fights and females on the roofs and fences, but now the big torn was content to stay home and hiss by the fire and snatch for turkey and dodge a broom, quarrelling and comforting with two house-bound women. Nothing had followed Joe to the door but his Mother’s chomping and her gasping breaths and the clink of the gin bottle going back on the mantel and the creaking of the floor boards under his feet.

The night was up-side-down deep among the frosty stars. A few of them seemed to move, like the white- hot jets of spaceships. Down below it looked as if the whole town of Ironmine had blown or but-toned out the light and gone to sleep, leaving the streets and spaces to the equally unseen breezes and ghosts. But Joe was still in the hemisphere of the musty dry odour of the worm-eaten carpentry behind him, and as he felt and heard the dry grass of the lawn brush his calves, it occurred to him that something deep down inside him had for years been planning things so that he and the House and his Wife and Mother and Mr. Guts would all come to an end together. Why the kitchen heat hadn’t touched off the tindery place ages ago was a physical miracle.

Hunching his shoulders, Joe stepped out, not up the pike, but down the dirt road that led past Cypress Hollow Cemetery to Night Town.

The breezes were gentle, but unusually restless and variable tonight, like leprechaun squalls. Beyond the drunken, whitewashed cemetery fence dim in the starlight, they rustled the scraggly trees of Cypress Hollow and made it seem they were stroking their beards of Spanish moss. Joe sensed that the ghosts were just as restless as the breezes, uncertain where and whom to haunt, or whether to take the night off, drifting together in sorrowfully lecherous companionship. While among the trees the red-green vampire lights pulsed faintly and irregularly, like sick fireflies or a plague-stricken space fleet. The feeling of deep misery stuck with Joe and deepened and he was tempted to turn aside and curl up in any convenient tomb or around some half-toppled head board and cheat his Wife and the other two behind him out of a shared doom. He thought: Gonna roll the bones, gonna roll ‘em up and go to sleep. But while he was deciding, he got past the sagged-open gate and the rest of the delirious fence and Shantyville too.