Robert Silverberg: Gate of Horn, Gate of Ivory

Often at night on the edge of sleep I cast my mind toward the abyss of time to come, hoping that I will tumble through some glowing barrier and find myself on the shores of a distant tomorrow. I strain at the moorings that hold me to this time and this place and yearn to break free. Sometimes I feel that I have broken free, that the journey is at last beginning, that I will open my eyes in the inconceivable dazzling future. But it is only an illusion, like that fluent knowledge of French or Sanskrit or calculus which is born in dreams and departs by dawn. I awaken and it is the year 1983 and I am in my own bed with the striped sheets and the blue coverlet and nothing has changed.

But I try again and again and still again, for the future calls me and the bleak murderous present repels me, and again the illusion that I am cutting myself loose from the time line comes over me, now more vivid and plausible than ever before, and as I soar and hurtle and vanish through the permeable membranes of the eons I wonder if it is finally in truth happening. I hover suspended somewhere outside the fabric of time and space and look down upon the Earth, and I can see its contours changing as though I watch an accelerated movie: roads sprout and fork and fork once more; villages arise and exfoliate into towns and then into cities and then are overtaken by the forest; rivers change their courses and deliver their waters into great mirror-bright lakes that shrivel and become meadows. And I hover, passive, a dreamer, observing. There are two gates of sleep, says Homer, and also Virgil. One is fashioned of horn, and one of ivory. Through the gate of horn pass the visions that are true, but those that emerge from the gate of ivory are deceptive dreams that mean nothing. Do I journey in a dream of the ivory gate? No, no, this is a true sending, this has the solidity and substance of inexorable reality. I have achieved it this time. I have crossed the barrier. Hooded figures surround me; somber eyes study me; I look into faces of a weird sameness, tawny skin, fleshless lips, jutting cheekbones that tug the taut skin above them into drumheads. The room in which I lie is high-vaulted and dark but glows with a radiance that seems inherent in the material of its walls. Abstract figurings, like the ornamentation of a mosque, dance along those walls in silver inlay; but this is no mosque, nor would the tribe of Allah have loved those strange and godless geometries that restlessly chase one another like lustful squirrels over the wainscoting. I am there; I am surely there.

“I want to see everything,” I say.

“See it, then. Nothing prevents you.”

One of them presses into my hand a shining silver globe, an orb of command that transports me at the tiniest squeeze of my hand. I fly upward jerkily and in terror, rising so swiftly that the air grows cold and the sky becomes purple, but in a moment I regain control and come to govern my trajectory more usefully. At an altitude of a few dozen yards I pass over a city of serene cubical buildings of rounded corners, glittering with white Mediterranean brilliance in the gentle sunlight. I see small vehicles, pastel-hued, teardrop-tapered, in which citizens with the universal face of the era ride above crystalline roadbeds. I drift over a garden of plants I cannot recognize, perhaps new plants entirely, with pink succulent leaves and great, mounding, golden inflorescences, or ropy stems like bundles of coaxial cable, or jagged green thorns tipped with tiny blue eyes. I come to a pond of air where serene naked people swim with minimal motions of their fingertips. I observe a staircase of some yielding rubbery substance that vanishes into a glowing nimbus of radiance, and children are climbing that staircase and disappearing into that sparkling place at its top. In the zoological gardens I look down on creatures from a hundred worlds, stranger than any protozoan made lion-sized.

For days I tour this place, inexhaustibly curious, numb with awe. There is no blade of grass out of place. There is no stain nor blemish. The sounds I hear are harmonious sounds, and no other. The air is mild and the winds are soft. Only the people seem stark and austere to me, I suppose because of their sameness of features and the hieratic Egyptian solemnity of their eyes, but after a while I realize that this is only my poor archaic sensibility’s misunderstanding, for I feel their love and support about me like a harness as I fly, and I know that these are the happiest, most angelic of all the beings that have walked the earth. I wonder how far in time I have traveled. Fifty thousand years? Half a million? Or perhaps—perhaps, and that possibility shrivels me with pain—perhaps much less than that. Perhaps this is the world of a hundred fifty years from now, eh? The post-apocalyptic era, the coming Utopia that lies just on the farther shore of our sea of turbulent nightmares. Is it possible that our world can be transformed into this so quickly? Why not? Miracles accelerate in an age of miracles. From the wobbly thing of wood and paper that flew a few seconds at Kitty Hawk to the gleaming majesty of the transcontinental jetliner was only a bit more than fifty years. Why not imagine that a world like this can be assembled in just as little time? But if that is so—

The torment of the thought drives me to the ground. I fall; they are taken by surprise, but ease my drop; I land on the warm moist soil and kneel, clutching it, letting my head slacken until my forehead touches the ground. I feel a gentle hand on my shoulder, just a touch, steadying me, soothing me.

“Let go,” I say, virtually snarling. “Take you hand off!”

The hand retreats.

I am alone with my agony. I tremble, I sob, I shiver. I am aware of them surrounding me, but they are baffled, helpless, confused. Possibly they have never seen pain before. Possibly suffering is no part of their vocabulary of spirit.

Finally one of them says softly, “Why do you weep?”

“Out of anger. Out of frustration.”

They are mystified. They surround me with shining machinery, screens and coils and lights and glowing panels, that I suspect is going to diagnose my malady. I kick everything over. I trample the intricate mechanisms and shove wildly at those who reach for me, even though I see that they are reaching not to restrain me but to soothe me.

“What is it?” they keep asking. “What troubles you?”

“I want to know what year this is.”

They confer. It may be that their numbering system is so different from ours that they are unable to tell me. But there must be a way: diagrams, analogies, astronomical patterns. I am not so primitive that I am beyond understanding such things.

Finally they say, “Your question has no meaning for us.”

“No meaning? You speak my language well enough. I need to know what year this is.”

“Its name is Eiligorda,” one of them says.

“Its name? Years don’t have names. Years have numbers. My year is numbered 1983. Are we so far in my future that you don’t remember the years with numbers?” I begin stripping away my clothing. “Here, look at me. This hair on my body—do you have hair like that? These teeth—see, I have thirty-two of them, arranged in an arc.” I hold up my hands. “Nails on my fingers! Have fingernails evolved away?” I tap my belly. “In here, an appendix dangling from my gut! Prehistoric, useless, preposterous! How long ago did that disappear? Look at me! See the ape-man, and tell me how ancient I am!”

“Our bodies are just like yours,” comes the quiet reply. “Except that we are healthier and stronger and resistant to disease. But we have hair. We have fingernails. We have the appendix.” They are naked before me, and I see that it is true. Their bodies are lean and supple, and there is a weird and disconcerting similarity of physique about them all, but they are not alien in any way; these could be twentieth-century bodies.