Рафаэль Лафферти - The Best of R. A. Lafferty

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Tor Essentials presents science fiction and fantasy titles of proven merit and lasting value, each volume introduced by an appropriate literary figure.
 Acclaimed as one of the most original voices in modern literature, a winner of the World Fantasy Award for lifetime achievement, Raphael Aloysius Lafferty (1914-2002) was an American original, a teller of acute, indescribably loopy tall tales whose work has been compared to that of Avram Davidson, Flannery O'Connor, Flann O'Brien, and Gene Wolfe. The Best of R. A. Lafferty presents 22 of his best flights of offbeat imagination, ranging from classics like "Nine-Hundred Grandmothers" (basis for the later novel) and "The Primary Education of the Cameroi," to his Hugo Award-winning "Eurema's Dam." Introduced by Neil Gaiman, the volume also contains story introductions and afterwords by, among many others, Michael Dirda, Samuel R. Delany, John Scalzi, Connie Willis, Jeff VanderMeer, Kelly Robson, Harlan Ellison...

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“A thousand spearheads and arrowheads could be shattered and chipped out of that hunk,” Terrence marveled. “That flint block would have been a primitive fortune for a primitive man.”

“I had several such fortunes,” Anteros said dully, “and this one I preserved and dedicated.”

They had all gathered around it.

“Oh the poor man!” Ethyl suddenly exclaimed, but she was not looking at any of the men. She was looking at the stone.

“I wish he’d get off that kick,” Magdalen sputtered angrily. “I don’t care how rich he is. I can pick up better stuff than him in the alleys.”

“What are the women chirping about?” Terrence asked. “But those do look like true glyphs. Almost like Aztec, are they not, Steinleser?”

“Nahuat-Tanoan, cousins-german to the Aztec, or should I say cousins-yaqui?”

“Call it anything, but can you read it?”

“Probably. Give me eight or ten hours on it and I should come up with a contingent reading of many of the glyphs. We can hardly expect a rational rendering of the message, however. All Nahuat-Tanoan translations so far have been gibberish.”

“And remember, Terrence, that Steinleser is a slow reader,” Magdalen said spitefully. “And he isn’t very good at interpreting other signs either.”

Steinleser was sullen and silent. How had his face come to bear those deep livid claw marks today?

They moved a lot of rock and rubble that morning, took quite a few pictures, wrote up bulky notes. There were constant finds as the divided party worked up the shag-slash in the mound and the core-flute of the chimney. There were no more really startling discoveries; no more turned pots of the proto-Plano period; how could there be? There were no more predicted and perfect points of the late Folsom, but there were broken and unpredictable points. No other mastodon thoracic was found, but bones were uncovered of bison latifrons, of dire wolf, of coyote, of man. There were some anomalies in the relationship of the things discovered, but it was not as fishy as it had been in the early morning, not as fishy as when Anteros had announced and then dug out the shards of the pot, the three points, the mastodon bone. The things now were as authentic as they were expected, and yet their very profusion had still the smell of a small fish.

And that Anteros was one digging man. He moved the sand, he moved the stone, he missed nothing. And at noon he disappeared.

An hour later he reappeared in a glossy station wagon, coming out of a thicketed ravine where no one would have expected a way. He had been to town. He brought a variety of cold cuts, cheeses, relishes and pastries, a couple of cases of cold beer, and some V.O.

“I thought you were a poor man, Anteros,” Terrence chided.

“I told you that I was a rich old poor man. I have nine thousand acres of grassland, I have three thousand head of cattle, I have alfalfa land and clover land and corn land and hay-grazer land—”

“Oh, knock it off!” Magdalen snapped.

“I have other things,” Anteros finished sullenly.

They ate, they rested, they worked the afternoon. Magdalen worked as swiftly and solidly as did Anteros. She was young, she was stocky, she was light-burned-dark. She was not at all beautiful (Ethyl was). She could have any man there any time she wanted to (Ethyl couldn’t). She was Magdalen, the often unpleasant, the mostly casual, the suddenly intense one. She was the tension of the party, the string of the bow.

“Anteros!” she called sharply just at sundown.

“The turtle?” he asked. “The turtle that is under the ledge out of the current where the backwater curls in reverse? But he is fit and happy and he has never harmed anything except for food or fun. I know you do not want me to get that turtle.”

“I do! There’s eighteen pounds of him. He’s fat. He’ll be good. Only eighty yards, where the bank crumbles down to Green River, under the lower ledge that’s shale that looks like slate, two feet deep—”

“I know where he is. I will go get the fat turtle,” Anteros said. “I myself am the fat turtle. I am the Green River.” He went to get it.

“Oh that damned poetry of his!” Magdalen spat when he was gone.

Anteros brought back the fat turtle. He looked as if he’d weigh twenty-five pounds; but if Magdalen said he weighed eighteen pounds, then it was eighteen.

“Start cooking, Ethyl,” Magdalen said. Magdalen was a mere undergraduate girl permitted on the digging by sheer good fortune. The others of the party were all archeologists of the moment. Magdalen had no right to give orders to anyone, except her born right.

“I don’t know how to cook a turtle,” Ethyl complained.

“Anteros will show you how.”

“The late evening smell of newly exposed excavation!” Terrence Burdock burbled as they lounged around the campfire a little later, full of turtle and V.O. and feeling rakishly wise. “The exposed age can be guessed by the very timbre of the smell, I believe.”

“Timbre of the smell! What is your nose wired up to?” from Magdalen.

And, indeed, there was something time-evocative about the smell of the diggings; cool, at the same time musty and musky, ripe with old stratified water and compressed death. Stratified time.

“It helps if you already know what the exposed age is,” said Howard Steinleser. “Here there is an anomaly. The chimney sometimes acts as if it were younger than the mound. The chimney cannot be young enough to include written rock, but it is.”

“Archeology is made up entirely of anomalies,” said Terrence, “rearranged to make them fit in a fluky pattern. There’d be no system to it otherwise.”

“Every science is made up entirely of anomalies rearranged to fit,” said Robert Derby. “Have you unriddled the glyph-stone, Howard?”

“Yes, pretty well, better than I expected. Charles August can verify it, of course, when we get it back to the University. It is a non-royal, non-tribal, non-warfare, non-hunt declaration. It does not come under any of the usual radical signs, any of the categories. It can only be categorized as uncategorized or personal. The translation will be rough.”

“Rocky is the word,” said Magdalen.

“On with it, Howard,” Ethyl cried.

“‘You are the freedom of wild pigs in the sour-grass, and the nobility of badgers. You are the brightness of serpents and the soaring of vultures. You are passion of mesquite bushes on fire with lightning. You are serenity of toads.’”

“You’ve got to admit he’s got a different line,” said Ethyl. “Your own love notes were less acrid, Terrence.”

“What kind of thing is it, Steinleser?” Terrence questioned. “It must have a category.”

“I believe Ethyl is right. It’s a love poem. ‘You are the water in rock cisterns and the secret spiders in that water. You are the dead coyote lying half in the stream, and you are the old entrapped dreams of the coyote’s brains oozing liquid through the broken eye socket. You are the happy ravening flies about that broken socket.’”

“Oh, hold it, Steinleser,” Robert Derby cried. “You can’t have gotten all that from scratches on flint. What is ‘entrapped dreams’ in Nahuat-Tanoan glyph-writing?”

“The solid-person sign next to the hollow-person sign, both enclosed in the night sign—that has always been interpreted as the dream glyph. And here the dream glyph is enclosed in the glyph of the dead-fall trap. Yes, I believe it means entrapped dreams. To continue: ‘You are the corn-worm in the dark heart of the corn, the naked small bird in the nest. You are the pustules on the sick rabbit, devouring life and flesh and turning it into your own serum. You are stars compressed into charcoal. But you cannot give, you cannot take. Once again you will be broken at the foot of the cliff, and the word will remain unsaid in your swollen and purple tongue.’”

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