GRAVITY RAINBOW (115 page)

Any talk of Bulb's transcendence, of course, was clear subversion. Phoebus based everything on bulb efficiency-the ratio of the usable power coming out, to the power put in. The Grid demanded that this ratio stay as small as possible. That way they got to sell more juice. On the other hand, low efficiency meant longer burning hours, and that cut into bulb sales for Phoebus. In the beginning Phoebus tried increasing filament resistance, reducing the hours of life on the sly and gradually-till the Grid noticed a fall-off in revenues, and started screaming. The two parties by and by reached an accord on a compromise bulb-life figure that would bring in enough money for both of them, and to go fifty-fifty on the costs of the antibulbsnatching campaign. Along with a more subtle attack against those criminal souls who forswear bulbs entirely and use candles. Phoebus's long-standing arrangement with the Meat Cartel was to restrict the amount of tallow in circulation by keeping more fat in meat to be sold regardless of cardiac problems that might arise, and redirecting most of what was trimmed off into soap production. Soap in those days was a booming concern. Among the consumers, the Bland Institute had discovered deep feelings about shit. Even at that, meat and soap were minor interlocks to Phoebus. More important were items like tungsten. Another reason why Phoebus couldn't cut down bulb life too far. Too many tungsten filaments would eat into available stockpiles of the metal-China being the major world source, this also brought in very delicate questions of Eastern policy-and disturb the arrangement between General Electric and Krupp about how much tungsten carbide would be produced, where and when and what the prices would be. The guidelines settled on were $37-$9O a pound in Germany, $200-$400 a pound in the U.S. This directly governed the production of machine tools, and thus all areas of light and heavy industry. When the War came, some people thought it unpatriotic of GE to have given Germany an edge like that. But nobody with any power. Don't worry.

Byron, as he burns on, sees more and more of this pattern. He learns how to make contact with other kinds of electric appliances, in

homes, in factories and out in the streets. Each has something to tell him. The pattern gathers in his soul
(Seek,
as the core of the earlier carbon filament was known in Germany), and the grander and clearer it grows, the more desperate Byron gets. Someday he will know everything, and still be as impotent as before. His youthful dreams of organizing all the bulbs in the world seem impossible now-the Grid is wide open, all messages can be overheard, and there are more than enough traitors out on the line. Prophets traditionally don't last long-they are either killed outright, or given an accident serious enough to make them stop and think, and most often they do pull back. But on Byron has been visited an even better fate. He is condemned to go on forever, knowing the truth and powerless to change anything. No longer will he seek to get off the wheel. His anger and frustration will grow without limit, and he will find himself, poor perverse bulb, enjoying it…

Laszlo Jamf walks away down the canal, where dogs are swimming now, dogs in packs, dogs' heads bobbing down the scummy canals… dog's heads, chess knights, also may be found invisible in the air over secret airbases, in the thickest fogs, conditions of temperature, pressure and humidity form Springer-shapes the tuned flyer can feel, the radars can see, the helpless passengers can almost glimpse, now and then, out the little window, as through sheets of vapor… it is the kind Dog, the Dog no man ever conditioned, who is there for us at beginnings and ends, and journeys we have to take, helpless, but not quite unwilling… The pleats in Jamf's suit go weaving away like iris leaves in a backyard wind. The colonel is left alone in Happyville. The steel city waits him, the even cloud-light raising a white streak down each great building, all of them set up as modulations on the perfect grid of the streets, each tower cut off at a different height-and where is the Comb that will move through
this
and restore the old perfect Cartesian harmony? where are the great Shears from the sky that will readjust Happyville?

There is no need to bring in blood or violence here. But the colonel does have his head tilted back now in what may truly be surrender: his throat is open to the pain-radiance of the Bulb. Paddy Mc-Gonigle is the only other witness, and he, a one-man power system with dreams of his own, wants the colonel out of the way as much as anyone. Eddie Pensiero, with the blues flooding his shaking muscles, the down, mortal blues, is holding his scissors in a way barbers aren't supposed to. The points, shuddering in the electric cone, are aiming

downward. Eddie Pensiero's fist tightens around the steel loops his fingers have slid out of. The colonel, with a last tilt of his head, exposes his jugular, clearly impatient with the-

She comes riding into town on a stolen bicycle: a white kerchief at her crown, fluttering behind in points, a distinguished emissary from a drained and captured land, herself full of ancient title, but nothing in the way of usable power, not even a fantasy of it. She's wearing a lean white dress, a tennis dress from prewar summers, falling now not in knife-edge pleats but softer, more accidental, half-crisp, touches of blue in its deeper folds, a dress for changes in the weather, a dress to be flowed upon by shadows of leaves, by a crumble of brown and sun-yellow moving across it and on as she coasts preoccupied but without private smiles, under the leafy trees that line the road of hard-packed dirt. Her hair is wound, in braids, up on her head, which she holds not too high nor what used to be called "gravely," but toward (say against) a particular future, for the first time since the Casino Hermann Goe-ring… and she's not of our moment, our time, at all.

The outermost sentry peers from his rusty-boned cement ruin, and for two full pedal-swings they are both, he and Katje, out in the daylight, blending with packed earth, rust, blobbing perforations of sunlight cold gold and slick as glass, the fresh wind in the trees. Hyperthyroidal African eyes, their irises besieged as early cornflowers by the crowding fields of white… Ooga
-booga!
Gwine jump on dis
drum
hyah! Tell de res' ob de trahb back in de village, yowzah!

So, DUMdumdumdum, DUMdumdumdum, O.K., but still there's no room in her demeanor for even curiosity (of course weren't there going to be drums, a chance for violence? A snake jumping off of a limb, a very large presence ahead among the thousand bowing tree-tops, a scream inside herself, a leap upward into primal terror, surrendering to it and so-she has dreamt-regaining her soul, her long-lost self…). Nor will she waste more than token glances now on the German lawns rushing so deeply away into green hazes or hills, the pale limbs of marble balusters beside sanitarium walks that curve restlessly, in a fever, a stifling, into thickets of penis-budded sprig and thorn so old, so without comfort that eyes are drawn, seized by the tear-glands and dragged to find, to find at all cost, the path that has disappeared so suddenly… or to look behind to hold on to some trace of the spa, a

corner
of the
Sprudelhof, the highest peak of the white-sugar bandstand, something to counteract Pan's whisper inside the dark grove
Come in… forget them. Come in here…
No. Not Katje. She has been into the groves and thickets. She has danced naked and spread her cunt to the horns of grove-dwelling beasts. She has felt the moon in the soles of her feet, taken its tides with the surfaces of her brain. Pan was a lousy lover. Today, in public, they have no more than nervous glances for each other.

What does happen now, and this is quite alarming, is that out of nowhere suddenly appear a full dancing-chorus of Herero men. They are dressed in white sailor suits designed to show off asses, crotches, slim waists and shapely pectorals, and they are carrying a girl all in silver lame, a loud brassy dame after the style of Diamond Lil or Texas Guinan. As they set her down, everyone begins to dance and sing:

Pa-ra-nooooiiiia, Pa-ra-noia!

Ain't it grand ta see, that good-time face, again!

Pa-ra-
noi
-ya, boy oh boy, yer

Just a bit of you-know-what

From way back when!

Even Goya, couldn't draw ya,

Not the way you looked, just kickin' in that door-

Call a lawyer, Paranoia,

Lemme will my ass to you, for-ever-more!

Then Andreas and Pavel come out in tap shoes (liberated from a rather insolent ENSA show that came through in July) to do one of those staccato tap-and-sing numbers:

Pa- ra- noi- (clippety-clippety-clippety cl[ya,]op!) Pa- ra- noi-
(shufflestomp! shufflestomp! shufflestomp!
[and] cl[ya,]op! clickety cl[Ain't]ick) it grand (clop) ta (clop) see
(clippyclop)
yer good-time face again! etc.

Well, Katje realizes long before the first 8 bars of all this that the brazen blonde bombshell is none other than herself:
she
is doing a dance routine with these black sailors-ashore. Having gathered also that she is the allegorical figure of Paranoia (a grand old dame, a little wacky but pure heart), she must say that she finds the jazzy vulgarity of this music a bit distressing. What she had in mind was more of an Isadora Duncan routine, classical and full of gauzes, and-well,
white.
What Pirate Prentice briefed her on was folklore, politics, Zonal strategies-but
not blackness.
When that was what she most needed to

know about. How can she pass now through so much blackness to redeem herself? How can she expect to find Slothrop? among such
blackness
(subvocalizing the word as an old man might speak the name of a base public figure, letting it gutter out into
real
blackness: into being spoken no more). There is that stubborn, repressive heat to her thoughts. It is none of your
heavy
racist skin-prickling, no, but a feeling of one more burden, along with the scarcity of food in the Zone, the chicken-coop, cave or basement lodgings at sunfall, the armed-occupation phobias and skulkings as bad as Holland last year, comfortable in here at least, lotos-snuggly, but disastrous out in the World of Reality she still believes in and will never give up hoping to rejoin someday. All that's not bad enough, no,
now
she must also endure blackness. Her ignorance of it must see her through.

With Andreas she is charming, she radiates that sensuality peculiar to women who are concerned with an absent lover's safety. But then she must see Enzian. Their first meeting. Each in a way has been loved by Captain Blicero. Each had to arrive at some way of making it bearable, just bearable, for just long enough, one day by one…

"Oberst. I am happy-" her voice breaks. Genuinely. Her head inclines across his desk no longer than is necessary to thank, to declare her passivity. The
hell
she's happy.

He nods, angles his beard at a chair. This, then, is the Golden Bitch of Blicero's last letters from Holland. Enzian formed no image of her then, too taken up, too gagged with sorrow at what was happening to Weissmann. She seemed then only one of the expected forms of horror that must be populating his world. But, ethnic when he least wants to be, Enzian came after a while to think of her as the great Kalahari rock painting of the White Woman, white from the waist down, carrying bow and arrows, trailed by her black handmaiden through an erratic space, stone and deep, figures of all sizes moving to and fro…

But here is the true Golden Bitch. He's surprised at how young and slender she is-a paleness as of having begun to leak away from this world, likely to vanish entirely at any too-reckless grab. She knows her own precarious thinness, her leukemia of soul, and she teases with it. You must want her, but never indicate it-not by eyes or move-or she will clarify, dead gone as smoke above a trail moving into the desert, and you'll never have the chance again.

"You must have seen him more recently than I." He speaks quietly. She is surprised at his politeness. Disappointed: she was expecting more force. Her lip has begun to lift. "How did he seem?"

"Alone." Her brusque and sideways nod. Gazing back at him with the best neutrality she can be sure of in the circs. She means, You were not with him, when he needed you.

"He was always alone."

She understands then that it isn't timidity, she was wrong. It is decency. The man wants to be decent. He leaves himself open. (So does she, but only because everything that might hurt has long been numbed out. There's small risk for Katje.) But Enzian risks what former lovers risk whenever the Beloved is present, in fact or in word: deepest possibilities for shame, for sense of loss renewed, for humiliation and mockery. Shall she mock? Has he made that too easy-and then, turning, counted on her for fair play? Can she be as honest as he, without risking too much? "He was dying," she tells him, "he looked very old. I don't even know if he left Holland alive."

"He-" and this hesitation may be (a) in consideration of her feelings, or (b) for reasons of Schwarzkommando security, or (c) both of the above… but then, hell, the Principle of Maximizing Risk takes over again: "he got as far as the Luneberg Heath. If you didn't know, you ought to."

"You've been looking for him."

"Yes. So has Slothrop been, though I don't think Slothrop knows that."

"Slothrop and I-" she looks around the room, her eyes skitter off metal surfaces, papers, facets of salt, cannot come to rest anywhere. As if making a desperate surprise confession: "Everything is so remote now. I don't really know why they sent me out here. I don't know any more who Slothrop really was. There's a failure in the
light.
I can't
see.
It's all going away from me…"

It isn't yet time to touch her, but Enzian reaches out gives a friendly chin-up tap on the back of her hand, a military now-see-here. "There
are
things to hold to. None of it may look real, but some of it is. Really."

"Really.
" They both start laughing. Hers is weary-European, slow, head-shaking. Once she would have been asessing as she laughed, speaking of edges, deeps, profit and loss, H-hours and points of no return-she would have been laughing
politically,
in response to a power-predicament, because there might be nothing else to do. But now she's only laughing. As she once laughed with Slothrop, back at the Casino Hermann Goering.