The Best of Science Fiction 12

Bob Shaw is not-quite-British: a North Irish journalist — columnist and science correspondent for The Belfast Telegraph — and author of perhaps a dozen short stories and one novel, Night Walk (Banner, 1966). Although his first fiction sale in 1953 was to the New York Post, he was almost unknown in the U.S. until 'Light of Other Days' appeared in Analog, and was promptly selected for inclusion in both The World's Best Science Fiction: 1967 (Ace) and Nebula Award Stories Two (Doubleday) — as well as being a (very close) runner-up for both the Hugo and Nebula awards in 1966.

One extraordinary thing about the story is that it is actually science fiction. Time-travel, long a favourite device (with or without magical or scientifabulous vehicles) for both classical and contemporary fabulators, philosophers, and science fiction writers, has lately gone the way of the Bug-eyed Monster: out of print onto the screen. But the topic of Time itself — its phenomenology, properties, effects, metaphysics — is as hot in the laboratories and academies as it is pervasive in new speculative fiction. (Especially in Britain: Fred Hoyle's October the First Is Too Late; Aldiss' 'Man in His Time' and Cryptozoic; almost anything by Ballard or Langdon Jones. In America, one thinks primarily of Dick, Leiber, and Delany.) 'Light of Other Days' incorporates a plausible, intriguing, and new idea about the physics of light in relation to Time.

Leaving the village behind, we followed the heady sweeps of the road up into a land of slow glass.

I had never seen one of the farms before and at first found them slightly eerie — an effect heightened by imagination and circumstance. The car's turbine was pulling smoothly and quietly in the damp air so that we seemed to be carried over the convolutions of the road in a kind of supernatural silence. On our right the mountain sifted down into an incredibly perfect valley of timeless pine, and everywhere stood the great frames of slow glass, drinking light. An occasional flash of afternoon sunlight on their wind bracing created an illusion of movement, but in fact the frames were deserted. The rows of windows had been standing on the hillside for years, staring into the valley, and men only cleaned them in the middle of the night when their human presence would not matter to the thirsty glass.

They were fascinating, but Selina and I didn't mention the windows. I think we hated each other so much we both were reluctant to sully anything new by drawing it into the nexus of our emotions. The holiday, I had begun to realise, was a stupid idea in the first place. I had thought it would cure everything, but, of course, it didn't stop Selina being pregnant and, worst still, it didn't even stop her being angry about being pregnant.

Rationalising our dismay over her condition, we had circulated the usual statements to the effect that we would have liked having children — but later on, at the proper time. Selina's pregnancy had cost us her well-paid job and with it the new house we had been negotiating and which was far beyond the reach of my income from poetry. But the real source of our annoyance was that we were face to face with the realisation that people who say they want children later always mean they want children never. Our nevers were thrumming with the knowledge that we, who had thought ourselves so unique, had fallen into the same biological trap as every mindless rutting creature which ever existed.

The road took us along the southern slopes of Ben Cruachan until we began to catch glimpses of the gray Atlantic far ahead. I had just cut our speed to absorb the view better when I noticed the sign spiked to a gatepost. It said: 'SLOW GLASS — QUALITY HIGH, PRICES LOW — J. R. HAGAN.' On an impulse I stopped the car on the verge, wincing slightly as tough grasses whipped noisily at the bodywork.

"Why have we stopped?" Selina's neat, smoke-silver head turned in surprise.

"Look at that sign. Let's go up and see what there is. The stuff might be reasonably priced out here."

Selina's voice was pitched high with scorn as she refused, but I was too taken with my idea to listen. I had an illogical conviction that doing something extravagant and crazy would set us right again.

"Come on," I said, "the exercise might do us some good. We've been driving too long anyway."

She shrugged in a way that hurt me and got out of the car. We walked up a path made of irregular, packed clay steps nosed with short lengths of sapling. The path curved through trees which clothed the edge of the hill and at its end we found a low farmhouse. Beyond the little stone building tall frames of slow glass gazed out towards the voice-stilling sight of Cruachan's ponderous descent towards the waters of Loch Linnhe. Most of the panes were perfectly transparent but a few were dark, like panels of polished ebony.

As we approached the house through a neat cobbled yard a tall middle-aged man in ash-coloured tweeds arose and waved to us. He had been sitting on the low rubble wall which bounded the yard, smoking a pipe and staring towards the house. At the front window of the cottage a young woman in a tangerine dress stood with a small boy in her arms, but she turned uninterestedly and moved out of sight as we drew near.

"Mr. Hagan?" I guessed.

"Correct. Come to see some glass, have you? Well, you've come to the right place." Hagan spoke crisply, with traces of the pure highland accent which sounds so much like Irish to the unaccustomed ear. He had one of those calmly dismayed faces one finds on elderly road-menders and philosophers.

"Yes," I said. "We're on holiday. We saw your sign."

Selina, who usually has a natural fluency with strangers, said nothing. She was looking towards the now empty window with what I thought was a slightly puzzled expression.

"Up from London, are you? Well, as I said, you've come to the right place — and at the right time, too. My wife and I don't see many people this early in the season."

I laughed. "Does that mean we might be able to buy a little glass without mortgaging our home?"

"Look at that now," Hagan said, smiling helplessly. "I've thrown away any advantage I might have had in the transaction. Rose, that's my wife, says I never learn. Still, let's sit down and talk it over." He pointed at the rubble wall, then glanced doubtfully at Selina's immaculate blue skirt. "Wait till I fetch a rug from the house." Hagan limped quickly into the cottage, closing the door behind him.

"Perhaps it wasn't such a marvelous idea to come up here," I whispered to Selina,, "but you might at least be pleasant to the man. I think I can smell a bargain."

"Some hope," she said with deliberate coarseness. "Surely even you must have noticed that ancient dress his wife is wearing! He won't give much away to strangers."

"Was that his wife?"

"Of course that was his wife."

"Well, well," I said, surprised. "Anyway, try to be civil with him. I don't want to be embarrassed."

Selina snorted, but she smiled whitely when Hagan reappeared and I relaxed a little. Strange how a man can love a woman and yet at the same time pray for her to fall under a train.

Hagan spread a tartan blanket on the wall and we sat down, feeling slightly self-conscious at having been translated from our city-oriented lives into a rural tableau. On the distant slate of the Loch, beyond the watchful frames of slow glass, a slow-moving steamer drew a white line towards the south. The boisterous mountain air seemed almost to invade our lungs, giving us more oxygen than we required.

"Some of the glass farmers around here," Hagan began, "give strangers, such as yourselves, a sales talk about how beautiful the autumn is in this part of Argyll. Or it might be the spring or the winter. I don't do that — any fool knows that a place which doesn't look right in summer never looks right. What do you say?"