summaryrefslogtreecommitdiff
path: root/29418.txt
diff options
context:
space:
mode:
Diffstat (limited to '29418.txt')
-rw-r--r--29418.txt1064
1 files changed, 1064 insertions, 0 deletions
diff --git a/29418.txt b/29418.txt
new file mode 100644
index 0000000..679d3f0
--- /dev/null
+++ b/29418.txt
@@ -0,0 +1,1064 @@
+The Project Gutenberg EBook of The Man from Time, by Frank Belknap Long
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever. You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Man from Time
+
+Author: Frank Belknap Long
+
+Release Date: July 15, 2009 [EBook #29418]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE MAN FROM TIME ***
+
+
+
+
+Produced by Greg Weeks, Stephen Blundell and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+
+
+
+ _The method by which one man might be pinpointed in the vastness of
+ all Eternity was the problem tackled by the versatile Frank Belknap
+ Long in this story. And as all minds of great perceptiveness know,
+ it would be a simple, human quality he'd find most effective even in
+ solving Time-Space._
+
+
+ the
+ man
+ from
+ time
+
+ _by ... Frank Belknap Long_
+
+
+ Deep in the Future he found the
+ answer to Man's age-old problem.
+
+
+Daring Moonson, he was called. It was a proud name, a brave name. But
+what good was a name that rang out like a summons to battle if the man
+who bore it could not repeat it aloud without fear?
+
+Moonson had tried telling himself that a man could conquer fear if he
+could but once summon the courage to laugh at all the sins that ever
+were, and do as he damned well pleased. An ancient phrase that--damned
+well. It went clear back to the Elizabethan Age, and Moonson had tried
+picturing himself as an Elizabethan man with a ruffle at his throat and
+a rapier in his clasp, brawling lustily in a tavern.
+
+In the Elizabethan Age men had thrown caution to the winds and lived
+with their whole bodies, not just with their minds alone. Perhaps that
+was why, even in the year 3689, defiant names still cropped up. Names
+like Independence Forest and Man, Live Forever!
+
+It was not easy for a man to live up to a name like Man, Live Forever!
+But Moonson was ready to believe that it could be done. There was
+something in human nature which made a man abandon caution and try to
+live up to the claims made for him by his parents at birth.
+
+It must be bad, Moonson thought. It must be bad if I can't control the
+trembling of my hands, the pounding of the blood at my temples. I am
+like a child shut up alone in the dark, hearing rats scurrying in a
+closet thick with cobwebs and the tapping of a blind man's cane on a
+deserted street at midnight.
+
+_Tap, tap, tap_--nearer and nearer through the darkness. How soon would
+the rats be swarming out, blood-fanged and wholly vicious? How soon
+would the cane strike?
+
+He looked up quickly, his eyes searching the shadows. For almost a month
+now the gleaming intricacies of the machine had given him a complete
+sense of security. As a scholar traveling in Time he had been accepted
+by his fellow travelers as a man of great courage and firm
+determination.
+
+For twenty-seven days a smooth surface of shining metal had walled him
+in, enabling him to grapple with reality on a completely adult level.
+For twenty-seven days he had gone pridefully back through Time, taking
+creative delight in watching the heritage of the human race unroll
+before him like a cineramoscope under glass.
+
+Watching a green land in the dying golden sunlight of an age lost to
+human memory could restore a man's strength of purpose by its serenity
+alone. But even an age of war and pestilence could be observed without
+torment from behind the protective shields of the Time Machine. Danger,
+accidents, catastrophe could not touch him personally.
+
+To watch death and destruction as a spectator in a traveling Time
+Observatory was like watching a cobra poised to strike from behind a
+pane of crystal-bright glass in a zoological garden.
+
+You got a tremendous thrill in just thinking: How dreadful if the glass
+should not be there! How lucky I am to be alive, with a thing so deadly
+and monstrous within striking distance of me!
+
+For twenty-seven days now he had traveled without fear. Sometimes the
+Time Observatory would pinpoint an age and hover over it while his
+companions took painstaking historical notes. Sometimes it would retrace
+its course and circle back. A new age would come under scrutiny and more
+notes would be taken.
+
+But a horrible thing that had happened to him, had awakened in him a
+lonely nightmare of restlessness. Childhood fears he had thought buried
+forever had returned to plague him and he had developed a sudden,
+terrible dread of the fogginess outside the moving viewpane, the way the
+machine itself wheeled and dipped when an ancient ruin came sweeping
+toward him. He had developed a fear of Time.
+
+There was no escape from that Time Fear. The instant it came upon him he
+lost all interest in historical research. 1069, 732, 2407, 1928--every
+date terrified him. The Black Plague in London, the Great Fire, the
+Spanish Armada in flames off the coast of a bleak little island that
+would soon mold the destiny of half the world--how meaningless it all
+seemed in the shadow of his fear!
+
+Had the human race really advanced so much? Time had been conquered but
+no man was yet wise enough to heal himself if a stark, unreasoning fear
+took possession of his mind and heart, giving him no peace.
+
+Moonson lowered his eyes, saw that Rutella was watching him in the
+manner of a shy woman not wishing to break in too abruptly on the
+thoughts of a stranger.
+
+Deep within him he knew that he had become a stranger to his own wife
+and the realization sharply increased his torment. He stared down at her
+head against his knee, at her beautiful back and sleek, dark hair.
+Violet eyes she had, not black as they seemed at first glance but a
+deep, lustrous violet.
+
+He remembered suddenly that he was still a young man, with a young man's
+ardor surging strong in him. He bent swiftly, kissed her lips and eyes.
+As he did so her arms tightened about him until he found himself
+wondering what he could have done to deserve such a woman.
+
+She had never seemed more precious to him and for an instant he could
+feel his fear lessening a little. But it came back and was worse than
+before. It was like an old pain returning at an unexpected moment to
+chill a man with the sickening reminder that all joy must end.
+
+His decision to act was made quickly.
+
+The first step was the most difficult but with a deliberate effort of
+will he accomplished it to his satisfaction. His secret thoughts he
+buried beneath a continuous mental preoccupation with the vain and the
+trivial. It was important to the success of his plan that his companions
+should suspect nothing.
+
+The second step was less difficult. The mental block remained firm and
+he succeeded in carrying on actual preparations for his departure in
+complete secrecy.
+
+The third step was the final one and it took him from a large
+compartment to a small one, from a high-arching surface of metal to a
+maze of intricate control mechanisms in a space so narrow that he had to
+crouch to work with accuracy.
+
+Swiftly and competently his fingers moved over instruments of science
+which only a completely sane man would have known how to manipulate. It
+was an acid test of his sanity and he knew as he worked that his
+reasoning faculties at least had suffered no impairment.
+
+Beneath his hands the Time Observatory's controls were solid shafts of
+metal. But suddenly as he worked he found himself thinking of them as
+fluid abstractions, each a milestone in man's long progress from the
+jungle to the stars. Time and space--mass and velocity.
+
+How incredible that it had taken centuries of patient technological
+research to master in a practical way the tremendous implications of
+Einstein's original postulate. Warp space with a rapidly moving object,
+move away from the observer with the speed of light--and the whole of
+human history assumed the firm contours of a landscape in space. Time
+and space merged and became one. And a man in an intricately-equipped
+Time Observatory could revisit the past as easily as he could travel
+across the great curve of the universe to the farthest planet of the
+farthest star.
+
+The controls were suddenly firm in his hands. He knew precisely what
+adjustments to make. The iris of the human eye dilates and contracts
+with every shift of illumination, and the Time Observatory had an iris
+too. That iris could be opened without endangering his companions in the
+least--if he took care to widen it just enough to accommodate only one
+sturdily built man of medium height.
+
+Sweat came out in great beads on his forehead as he worked. The light
+that came through the machine's iris was faint at first, the barest
+glimmer of white in deep darkness. But as he adjusted controls the light
+grew brighter and brighter, beating in upon him until he was kneeling in
+a circle of radiance that dazzled his eyes and set his heart to
+pounding.
+
+I've lived too long with fear, he thought. I've lived like a man
+imprisoned, shut away from the sunlight. Now, when freedom beckons, I
+must act quickly or I shall be powerless to act at all.
+
+He stood erect, took a slow step forward, his eyes squeezed shut.
+Another step, another--and suddenly he knew he was at the gateway to
+Time's sure knowledge, in actual contact with the past for his ears were
+now assailed by the high confusion of ancient sounds and voices!
+
+He left the Time machine in a flying leap, one arm held before his face.
+He tried to keep his eyes covered as the ground seemed to rise to meet
+him. But he lurched in an agony of unbalance and opened his eyes--to see
+the green surface beneath him flashing like a suddenly uncovered jewel.
+
+He remained on his feet just long enough to see his Time Observatory dim
+and vanish. Then his knees gave way and he collapsed with a despairing
+cry as the fear enveloped him ...
+
+ * * * * *
+
+There were daisies in the field where he lay, his shoulders and naked
+chest pressed to the earth. A gentle wind stirred the grass, and the
+flute-like warble of a song bird was repeated close to his ear, over and
+over with a tireless persistence.
+
+Abruptly he sat up and stared about him. Running parallel to the field
+was a winding country road and down it came a yellow and silver vehicle
+on wheels, its entire upper section encased in glass which mirrored the
+autumnal landscape with a startling clearness.
+
+The vehicle halted directly in front of him and a man with ruddy cheeks
+and snow-white hair leaned out to wave at him.
+
+"Good morning, mister!" the man shouted. "Can I give you a lift into
+town?"
+
+Moonson rose unsteadily, alarm and suspicion in his stare. Very
+cautiously he lowered the mental barrier and the man's thoughts impinged
+on his mind in bewildering confusion.
+
+_He's not a farmer, that's sure ... must have been swimming in the
+creek, but those bathing trunks he's wearing are out of this world!_
+
+_Huh! I wouldn't have the nerve to parade around in trunks like that
+even on a public beach. Probably an exhibitionist ... But why should he
+wear 'em out here in the woods? No blonds or redheads to knock silly out
+here!_
+
+_Huh! He might have the courtesy to answer me ... Well, if he doesn't
+want a lift into town it's no concern of mine!_
+
+Moonson stood watching the vehicle sweep away out of sight. Obviously he
+had angered the man by his silence, but he could answer only by shaking
+his head.
+
+He began to walk, pausing an instant in the middle of the bridge to
+stare down at a stream of water that rippled in the sunlight over
+moss-covered rocks. Tiny silver fish darted to and fro beneath a
+tumbling waterfall and he felt calmed and reassured by the sight.
+Shoulders erect now, he walked on ...
+
+It was high noon when he reached the tavern. He went inside, saw men and
+women dancing in a dim light, and there was a huge, rainbow-colored
+musical instrument by the door which startled him by its resonance. The
+music was wild, weird, a little terrifying.
+
+He sat down at a table near the door and searched the minds of the
+dancers for a clue to the meaning of what he saw.
+
+The thoughts which came to him were startlingly primitive, direct and
+sometimes meaningless to him.
+
+_Go easy, baby! Swing it! Sure, we're in the groove now, but you never
+can tell! I'll buy you an orchid, honey! Not roses, just one
+orchid--black like your hair! Ever see a black orchid, hon? They're rare
+and they're expensive!_
+
+_Oh, darl, darl, hold me closer! The music goes round and round! It will
+always be like that with us, honey! Don't ever be a square! That's all I
+ask! Don't ever be a square! Cuddle up to me, let yourself go! When
+you're dancing with one girl you should never look at another! Don't you
+know that, Johnny!_
+
+_Sure I know it, Doll! But did I ever claim I wasn't human?_
+
+_Darl, doll, doll baby! Look all you want to! But if you ever dare--_
+
+Moonson found himself relaxing a little. Dancing in all ages was closely
+allied to love-making, but it was pursued here with a careless rapture
+which he found creatively stimulating. People came here not only to
+dance but to eat, and the thoughts of the dancers implied that there was
+nothing stylized about a tavern. The ritual was a completely natural
+one.
+
+In Egyptian bas-reliefs you saw the opposite in dancing. Every movement
+rigidly prescribed, arms held rigid and sharply bent at the elbows. Slow
+movements rather than lively ones, a bowing and a scraping with bowls of
+fruit extended in gift offerings at every turn.
+
+There was obviously no enthroned authority here, no bejeweled king to
+pacify when emotions ran wild, but complete freedom to embrace joy with
+corybantic abandonment.
+
+A tall man in ill-fitting black clothes approached Moonson's table,
+interrupting his reflections with thoughts that seemed designed to
+disturb and distract him out of sheer perversity. So even here there
+were flies in every ointment, and no dream of perfection could remain
+unchallenged.
+
+He sat unmoving, absorbing the man's thoughts.
+
+_What does he think this is, a bath house? Mike says it's okay to serve
+them if they come in from the beach just as they are. But just one quick
+beer, no more. This late in the season you'd think they'd have the
+decency to get dressed!_
+
+The sepulchrally-dressed man gave the table a brush with a cloth he
+carried, then thrust his head forward like an ill-tempered scavenger
+bird.
+
+"Can't serve you anything but beer. Boss's orders. Okay?"
+
+Moonson nodded and the man went away.
+
+Then he turned to watching the girl. She was frightened. She sat all
+alone, plucking nervously at the red-and-white checkered tablecloth. She
+sat with her back to the light, bunching the cloth up into little folds,
+then smoothing it out again.
+
+She'd ground out lipstick-smudged cigarettes until the ash tray was
+spilling over.
+
+Moonson began to watch the fear in her mind ...
+
+Her fear grew when she thought that Mike wasn't gone for good. The phone
+call wouldn't take long and he'd be coming back any minute now. And Mike
+wouldn't be satisfied until she was broken into little bits. Yes, Mike
+wanted to see her on her knees, begging him to kill her!
+
+_Kill me, but don't hurt Joe! It wasn't his fault! He's just a kid--he's
+not twenty yet, Mike!_
+
+That would be a lie but Mike had no way of knowing that Joe would be
+twenty-two on his next birthday, although he looked eighteen at most.
+There was no pity in Mike but would his pride let him hot-rod an
+eighteen-year-old?
+
+_Mike won't care! Mike will kill him anyway! Joe couldn't help falling
+in love with me, but Mike won't care what Joe could help! Mike was never
+young himself, never a sweet kid like Joe!_
+
+_Mike killed a man when he was fourteen years old! He spent seven years
+in a reformatory and the kids there were never young. Joe will be just
+one of those kids to Mike ..._
+
+Her fear kept growing.
+
+You couldn't fight men like Mike. Mike was strong in too many different
+ways. When you ran a tavern with an upstairs room for special customers
+you had to be tough, strong. You sat in an office and when people came
+to you begging for favors you just laughed. Ten grand isn't hay, buddy!
+My wheels aren't rigged. If you think they are get out. It's your
+funeral.
+
+It's your funeral, Mike would say, laughing until tears came into his
+eyes.
+
+You couldn't fight that kind of strength. Mike could push his knuckles
+hard into the faces of people who owed him money, and he'd never even be
+arrested.
+
+Mike could take money crisp and new out of his wallet, spread it out
+like a fan, say to any girl crazy enough to give him a second glance:
+"I'm interested in you, honey! Get rid of him and come over to my
+table!"
+
+He could say worse things to girls too decent and self-respecting to
+look at him at all.
+
+You could be so cold and hard nothing could ever hurt you. You could be
+Mike Galante ...
+
+How could she have loved such a man? And dragged Joe into it, a good kid
+who had made only one really bad mistake in his life--the mistake of
+asking her to marry him.
+
+She shivered with a chill of self-loathing and turned her eyes
+hesitantly toward the big man in bathing trunks who sat alone by the
+door.
+
+For a moment she met the big man's eyes and her fears seemed to fade
+away! She stared at him ... sunburned almost black. Muscles like a
+lifeguard. All alone and not on the make. When he returned her stare his
+eyes sparkled with friendly interest, but no suggestive, flirtatious
+intent.
+
+He was too rugged to be really handsome, she thought, but he wouldn't
+have to start digging in his wallet to get a girl to change tables,
+either.
+
+Guiltily she remembered Joe, now it could only be Joe.
+
+Then she saw Joe enter the room. He was deathly pale and he was coming
+straight toward her between the tables. Without pausing to weigh his
+chances of staying alive he passed a man and a woman who relished Mike's
+company enough to make them eager to act ugly for a daily handout. They
+did not look up at Joe as he passed but the man's lips curled in a sneer
+and the woman whispered something that appeared to fan the flames of her
+companion's malice.
+
+Mike had friends--friends who would never rat on him while their police
+records remained in Mike's safe and they could count on him for
+protection.
+
+She started to rise, to go to Joe and warn him that Mike would be coming
+back. But despair flooded her and the impulse died. The way Joe felt
+about her was a thing too big to stop ...
+
+Joe saw her slim against the light, and his thoughts were like the sea
+surge, wild, unruly.
+
+_Maybe Mike will get me. Maybe I'll be dead by this time tomorrow. Maybe
+I'm crazy to love her the way I do ..._
+
+Her hair against the light, a tumbled mass of spun gold.
+
+_Always a woman bothering me for as long as I can remember. Molly, Anne,
+Janice ... Some were good for me and some were bad._
+
+_You see a woman on the street walking ahead of you, hips swaying, and
+you think: I don't even know her name but I'd like to crush her in my
+arms!_
+
+_I guess every guy feels like that about every pretty woman he sees.
+Even about some that aren't so pretty. But then you get to know and like
+a woman, and you don't feel that way so much. You respect her and you
+don't let yourself feel that way._
+
+_Then something happens. You love her so much it's like the first time
+again but with a whole lot added. You love her so much you'd die to make
+her happy._
+
+ * * * * *
+
+Joe was shaking when he slipped into the chair left vacant by Mike and
+reached out for both her hands.
+
+"I'm taking you away tonight," he said. "You're coming with me."
+
+Joe was scared, she knew. But he didn't want her to know. His hands were
+like ice and his fear blended with her own fear as their hands met.
+
+"He'll kill you, Joe! You've got to forget me!" she sobbed.
+
+"I'm not afraid of him. I'm stronger than you think. He won't dare come
+at me with a gun, not here before all these people. If he comes at me
+with his fists I'll hook a solid left to his jaw that will stretch him
+out cold!"
+
+She knew he wasn't deceiving himself. Joe didn't want to die any more
+than she did.
+
+The Man from Time had an impulse to get up, walk over to the two
+frightened children and comfort them with a reassuring smile. He sat
+watching, feeling their fear beating in tumultuous waves into his brain.
+Fear in the minds of a boy and a girl because they desperately wanted
+one another!
+
+He looked steadily at them and his eyes spoke to them ...
+
+_Life is greater than you know. If you could travel in Time, and see how
+great is man's courage--if you could see all of his triumphs over
+despair and grief and pain--you would know that there is nothing to
+fear! Nothing at all!_
+
+Joe rose from the table, suddenly calm, quiet.
+
+"Come on," he said quietly. "We're getting out of here right now. My
+car's outside and if Mike tries to stop us I'll fix him!"
+
+The boy and the girl walked toward the door together, a young and
+extremely pretty girl and a boy grown suddenly to the full stature of a
+man.
+
+Rather regretfully Moonson watched them go. As they reached the door the
+girl turned and smiled and the boy paused too--and they both smiled
+suddenly at the man in the bathing trunks.
+
+Then they were gone.
+
+Moonson got up as they disappeared, left the tavern.
+
+It was dark when he reached the cabin. He was dog-tired, and when he saw
+the seated man through the lighted window a great longing for
+companionship came upon him.
+
+He forgot that he couldn't talk to the man, forgot the language
+difficulty completely. But before this insurmountable element occurred
+to him he was inside the cabin.
+
+Once there he saw that the problem solved itself--the man was a writer
+and he had been drinking steadily for hours. So the man did all of the
+talking, not wanting or waiting for an answer.
+
+A youngish, handsome man he was, with graying temples and keenly
+observant eyes. The instant he saw Moonson he started to talk.
+
+"Welcome, stranger," he said. "Been taking a dip in the ocean, eh? Can't
+say I'd enjoy it, this late in the season!"
+
+Moonson was afraid at first that his silence might discourage the
+writer, but he did not know writers ...
+
+"It's good to have someone to talk to," the writer went on. "I've been
+sitting here all day trying to write. I'll tell you something you may
+not know--you can go to the finest hotels, and you can open case after
+case of the finest wine, and you still can't get started sometimes."
+
+The writer's face seemed suddenly to age. Fear came into his eyes and he
+raised the bottle to his lips, faced away from his guest as he drank as
+if ashamed of what he must do to escape despair every time he faced his
+fear.
+
+He was trying to write himself back into fame. His greatest moment had
+come years before when his golden pen had glorified a generation of
+madcaps.
+
+For one deathless moment his genius had carried him to the heights, and
+a white blaze of publicity had given him a halo of glory. Later had come
+lean and bitter years until finally his reputation dwindled like a
+gutted candle in a wintry room at midnight.
+
+He could still write but now fear and remorse walked with him and would
+give him no peace. He was cruelly afraid most of the time.
+
+Moonson listened to the writer's thoughts in heart-stricken
+silence--thoughts so tragic they seemed out of keeping with the natural
+and beautiful rhythms of his speech. He had never imagined that a
+sensitive and imaginative man--an artist--could be so completely
+abandoned by the society his genius had helped to enrich.
+
+Back and forth the writer paced, baring his inmost thoughts ... His wife
+was desperately ill and the future looked completely black. How could he
+summon the strength of will to go on, let alone to write?
+
+He said fiercely, "It's all right for you to talk--"
+
+He stopped, seeming to realize for the first time that the big man
+sitting in an easy chair by the window had made no attempt to speak.
+
+It seemed incredible, but the big man had listened in complete silence,
+and with such quiet assurance that his silence had taken on an eloquence
+that inspired absolute trust.
+
+He had always known there were a few people like that in the world,
+people whose sympathy and understanding you could take for granted.
+There was a fearlessness in such people which made them stand out from
+the crowd, stone-markers in a desert waste to lend assurance to a tired
+wayfarer by its sturdy permanence, its sun-mirroring strength.
+
+There were a few people like that in the world but you sometimes went a
+lifetime without meeting one. The big man sat there smiling at him,
+calmly exuding the serenity of one who has seen life from its tangled,
+inaccessible roots outward and testifies from experience that the
+entire growth is sound.
+
+The writer stopped pacing suddenly and drew himself erect. As he stared
+into the big man's eyes his fears seemed to fade away. Confidence
+returned to him like the surge of the sea in great shining waves of
+creativeness.
+
+ * * * * *
+
+He knew suddenly that he could lose himself in his work again, could tap
+the bright resonant bell of his genius until its golden voice rang out
+through eternity. He had another great book in him and it would get
+written now. It would get written ...
+
+"You've helped me!" he almost shouted. "You've helped me more than you
+know. I can't tell you how grateful I am to you. You don't know what it
+means to be so paralyzed with fright that you can't write at all!"
+
+The Man from Time was silent but his eyes shone curiously.
+
+The writer turned to a bookcase and removed a volume in a faded cover
+that had once been bright with rainbow colors. He sat down and wrote an
+inscription on the flyleaf.
+
+Then he rose and handed the book to his visitor with a slight bow. He
+was smiling now.
+
+"This was my first-born!" he said.
+
+The Man from Time looked at the title first ... THIS SIDE OF PARADISE.
+
+Then he opened the book and read what the author had written on the
+flyleaf:
+
+ _With warm gratefulness for a courage which brought back the sun._
+
+ _F. Scott Fitzgerald._
+
+Moonson bowed his thanks, turned and left the cabin.
+
+Morning found him walking across fresh meadowlands with the dew
+glistening on his bare head and broad, straight shoulders.
+
+They'd never find him, he told himself hopelessly. They'd never find him
+because Time was too vast to pinpoint one man in such a vast waste of
+years. The towering crests of each age might be visible but there could
+be no returning to one tiny insignificant spot in the mighty ocean of
+Time.
+
+As he walked his eyes searched for the field and the winding road he'd
+followed into town. Only yesterday this road had seemed to beckon and he
+had followed, eager to explore an age so primitive that mental
+communication from mind to mind had not yet replaced human speech.
+
+Now he knew that the speech faculty which mankind had long outgrown
+would never cease to act as a barrier between himself and the men and
+women of this era of the past. Without it he could not hope to find
+complete understanding and sympathy here.
+
+He was still alone and soon winter would come and the sky grow cold and
+empty ...
+
+The Time machine materialized so suddenly before him that for an instant
+his mind refused to accept it as more than a torturing illusion conjured
+up by the turbulence of his thoughts. All at once it towered in his
+path, bright and shining, and he moved forward over the dew-drenched
+grass until he was brought up short by a joy so overwhelming that it
+seemed to him that his heart must burst.
+
+ * * * * *
+
+Rutella emerged from the machine with a gay little laugh, as if his
+stunned expression was the most amusing in the world.
+
+"Hold still and let me kiss you, darling," her mind said to his.
+
+She stood in the dew-bright grass on tiptoe, her sleek dark hair falling
+to her shoulders, an extraordinarily pretty girl to be the wife of a man
+so tormented.
+
+"You found me!" his thoughts exulted. "You came back alone and searched
+until you found me!"
+
+She nodded, her eyes shining. So Time wasn't too vast to pinpoint after
+all, not when two people were so securely wedded in mind and heart that
+their thoughts could build a bridge across Time.
+
+"The Bureau of Emotional Adjustment analyzed everything I told them.
+Your psycho-graph ran to fifty-seven pages, but it was your desperate
+loneliness which guided me to you."
+
+She raised his hand to her lips and kissed it.
+
+"You see, darling, a compulsive fear isn't easy to conquer. No man or
+woman can conquer it alone. Historians tell us that when the first
+passenger rocket started out for Mars, Space Fear took men by surprise
+in the same way your fear gripped you. The loneliness, the utter
+desolation of space, was too much for a human mind to endure."
+
+She smiled her love. "We're going back. We'll face it together and we'll
+conquer it together. You won't be alone now. Darling, don't you
+see--it's because you aren't a clod, because you're sensitive and
+imaginative that you experience fear. It's not anything to be ashamed
+of. You were simply the first man on Earth to develop a new and
+completely different kind of fear--Time Fear."
+
+Moonson put out his hand and gently touched his wife's hair.
+
+Ascending into the Time Observatory a thought came unbidden into his
+mind: _Others he saved, himself he could not save._
+
+But that wasn't true at all now.
+
+He _could_ help himself now. He would never be alone again! When guided
+by the sure hand of love and complete trust, self-knowledge could be a
+shining weapon. The trip back might be difficult, but holding tight to
+his wife's hand he felt no misgivings, no fear.
+
+
+
+
+Transcriber's Note:
+
+ This etext was produced from _Fantastic Universe_ March 1954.
+ Extensive research did not uncover any evidence that the U.S.
+ copyright on this publication was renewed. Minor spelling and
+ typographical errors have been corrected without note.
+
+
+
+
+
+End of the Project Gutenberg EBook of The Man from Time, by Frank Belknap Long
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE MAN FROM TIME ***
+
+***** This file should be named 29418.txt or 29418.zip *****
+This and all associated files of various formats will be found in:
+ https://www.gutenberg.org/2/9/4/1/29418/
+
+Produced by Greg Weeks, Stephen Blundell and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties. Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark. Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission. If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy. You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research. They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks. Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A. By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement. If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B. "Project Gutenberg" is a registered trademark. It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement. There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement. See
+paragraph 1.C below. There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works. See paragraph 1.E below.
+
+1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works. Nearly all the individual works in the
+collection are in the public domain in the United States. If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed. Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work. You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D. The copyright laws of the place where you are located also govern
+what you can do with this work. Copyright laws in most countries are in
+a constant state of change. If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work. The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E. Unless you have removed all references to Project Gutenberg:
+
+1.E.1. The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever. You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2. If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges. If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3. If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder. Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5. Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6. You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form. However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form. Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7. Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8. You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+ the use of Project Gutenberg-tm works calculated using the method
+ you already use to calculate your applicable taxes. The fee is
+ owed to the owner of the Project Gutenberg-tm trademark, but he
+ has agreed to donate royalties under this paragraph to the
+ Project Gutenberg Literary Archive Foundation. Royalty payments
+ must be paid within 60 days following each date on which you
+ prepare (or are legally required to prepare) your periodic tax
+ returns. Royalty payments should be clearly marked as such and
+ sent to the Project Gutenberg Literary Archive Foundation at the
+ address specified in Section 4, "Information about donations to
+ the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+ you in writing (or by e-mail) within 30 days of receipt that s/he
+ does not agree to the terms of the full Project Gutenberg-tm
+ License. You must require such a user to return or
+ destroy all copies of the works possessed in a physical medium
+ and discontinue all use of and all access to other copies of
+ Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+ money paid for a work or a replacement copy, if a defect in the
+ electronic work is discovered and reported to you within 90 days
+ of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+ distribution of Project Gutenberg-tm works.
+
+1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark. Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1. Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection. Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from. If you
+received the work on a physical medium, you must return the medium with
+your written explanation. The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund. If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund. If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4. Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5. Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law. The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section 2. Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers. It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come. In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3. Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service. The Foundation's EIN or federal tax identification
+number is 64-6221541. Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising. Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations. Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org. Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+ Dr. Gregory B. Newby
+ Chief Executive and Director
+ gbnewby@pglaf.org
+
+
+Section 4. Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment. Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States. Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements. We do not solicit donations in locations
+where we have not received written confirmation of compliance. To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States. U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses. Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations. To donate, please visit: https://pglaf.org/donate
+
+
+Section 5. General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone. For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included. Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+ https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.