C Kornbluth - His Share of Glory The Complete Short Science Fiction

Jewel Flyte took the page from his hands. All she said was, after a long pause: "I suppose they couldn't start them too young." She dropped the page and she too wiped her hands.

"Come along," the captain said. "We'll try the stairs." The stairs were dust, rat dung, cobwebs, and two human skeletons. Murderous knuckledusters fitted loosely the bones of the two right hands. Salter hardened himself to pick up one of the weapons, but could not bring himself to try it on. Jewel Flyte said apologetically. "Please be careful, Captain. It might be poisoned. That seems to be the way they were."

Salter froze. By God, but the girl was right! Delicately, handling the spiked steel thing by its edges, he held it up. Yes; stains—it would be stained, and perhaps with poison also. He dropped it into the thoracic cage of one skeleton and said: "Come on." They climbed in quest of a dusty light from above; it was a doorway onto a corridor of many doors.

There was evidence of fire and violence. A barricade of queer pudgy chairs and divans had been built to block the corridor, and had been breached. Behind it were sprawled three more heaps of bones.

"They have no heads," the chaplain said hoarsely. "Captain Salter, this is not a place for human beings. We must go back to the ship, even if it means honorable death. This is not a place for human beings."

"Thank you, chaplain," said Salter. "You've cast your vote. Is anybody with you?"

"Kill your own children, chaplain," said Mrs. Graves. "Not mine." Jewel Flyte gave the chaplain a sympathetic shrug and said: "No." One door stood open, its lock shattered by blows of a fire axe. Salter said: "We'll try that one." They entered into the home of an ordinary middle-class death-worshipping family as it had been a century ago, in the one hundred and thirty-first year of Merdeka the Chosen.

Merdeka the Chosen, the All-Foreigner, the Ur-Alien, had never intended any of it. He began as a retail mail-order vendor of movie and television stills, eight-by-ten glossies for the fan trade. It was a hard dollar; you had to keep an immense stock to cater to a tottery Mae Bush admirer, to the pony-tailed screamer over Rip Torn, and to everybody in between. He would have no truck with pinups. "Dirty, lascivious pictures!" he snarled when broadly hinting letters arrived. "Filth! Men and women kissing, ogling, pawing each other! Orgies! Bah!" Merdeka kept a neutered dog, a spayed cat, and a crumpled uncomplaining housekeeper who was technically his wife. He was poor; he was very poor. Yet he never neglected his charitable duties, contributing every year to the Planned Parenthood Federation and the Midtown Hysterectomy Clinic.

They knew him in the Third Avenue saloons where he talked every night, arguing with Irishmen, sometimes getting asked outside to be knocked down. He let them knock him down, and sneered from the pavement. Was this their argument? He could argue. He spewed facts and figures and cliches in unanswerable profusion. Hell, man, the Russians'll have a bomb base on the moon in two years and in two years the Army and the Air Force will still be beating each other over the head with pigs' bladders. Just a minute, let me tell you: the god-dammycin's making idiots of us all; do you know of any children born in the past two years that're healthy? And: 'flu be go to hell; it's our own germ warfare from Camp Crowder right outside Baltimore that got out of hand, and it happened the week of the twenty-fourth. And: the human animal's obsolete; they've proved at M.I.T., Steinwitz and Kohlmann proved that the human animal cannot survive the current radiation levels. And: enjoy your lung cancer, friend; for every automobile and its stinking exhaust there will be two-point-seven-oh-three cases of lung cancer, and we've got to have our automobiles, don't we? And: delinquency my foot; they're insane and it's got to the point where the economy cannot support mass insanity; they've got to be castrated; it's the only way. And: they should dig up the body of Metchnikoff and throw it to the dogs; he's the degenerate who invented venereal prophylaxis and since then vice without punishment has run hogwild through the world; what we need on the streets is a few of those old-time locomotor ataxia cases limping and drooling to show the kids where vice leads.

He didn't know where he came from. The delicate New York way of establishing origins is to ask: "Merdeka, hah? What kind of a name is that now?" And to this he would reply that he wasn't a lying Englishman or a loudmouthed Irishman or a perverted Frenchman or a chiseling Jew or a barbarian Russian or a toadying German or a thickheaded Scandihoovian, and if his listener didn't like it, what did he have to say in reply?

He was from an orphanage, and the legend at the orphanage was that a policeman had found him, two hours old, in a garbage can coincident with the death by hemorrhage on a trolley car of a luetic young woman whose name appeared to be Merdeka and who had certainly been recently delivered of a child. No other facts were established, but for generation after generation of orphanage inmates there was great solace in having one of their number who indisputably had got off to a worse start than they.

A watershed of his career occurred when he noticed that he was, for the seventh time that year, reordering prints of scenes from Mr. Howard Hughes's production The Outlaw. These were not the off-the-bust stills of Miss Jane Russell, surprisingly, but were group scenes of Miss Russell suspended by her wrists and about to be whipped. Merdeka studied the scene, growled, "Give it to the bitch!" and doubled the order. It sold out. He canvassed his files for other whipping and torture stills from Desert Song-type movies, made up a special assortment, and it sold out within a week. Then he knew.

The man and the opportunity had come together, for perhaps the fiftieth time in history. He hired a model and took the first specially posed pictures himself. They showed her cringing from a whip, tied to a chair with a clothesline, and herself brandishing the whip.

Within two months Merdeka had cleared six thousand dollars and he put every cent of it back into more photographs and direct-mail advertising. Within a year he was big enough to attract the post office obscenity people. He went to Washington and screamed in their faces:

"My stuff isn't obscene and I'll sue you if you bother me, you stinking bureaucrats! You show me one breast, you show me one behind, you show me one human being touching another in my pictures! You can't and you know you can't! I don't believe in sex and I don't push sex, so you leave me the hell alone! Life is pain and suffering and being scared, so people like to look at my pictures; my pictures are about them, the scared little jerks! You're just a bunch of goddam perverts if you think there's anything dirty about my pictures!"

He had them there; Merdeka's girls always wore at least full panties, bras, and stockings; he had them there. The post office obscenity people were vaguely positive that there was something wrong with pictures of beautiful women tied down to be whipped or burned with hot irons, but what?

The next year they tried to get him on his income tax; those deductions for the Planned Parenthood Federation and the Midtown Hysterectomy Clinic were preposterous, but he proved them with canceled checks to the last nickel. "In fact," he indignantly told them, "I spend a lot of time at the Clinic and sometimes they let me watch the operations. That's how highly they think of me at the Clinic."

The next year he started DEATH: the Weekly Picture Magazine with the aid of a half-dozen bright young grads from the new Harvard School of Communicationeering. As DEATH'S Communicator in Chief (only yesterday he would have been its Publisher, and only fifty years before he would have been its Editor) he slumped biliously in a pigskin-paneled office, peering suspiciously at the closed-circuit TV screen which had a hundred wired eyes throughout DEATH'S offices, sometimes growling over the voice circuit: "You! What's your name?