diff options
Diffstat (limited to '29503-h')
| -rw-r--r-- | 29503-h/29503-h.htm | 1343 | ||||
| -rw-r--r-- | 29503-h/images/001.png | bin | 0 -> 43257 bytes | |||
| -rw-r--r-- | 29503-h/images/002-1.jpg | bin | 0 -> 17501 bytes | |||
| -rw-r--r-- | 29503-h/images/002-2.jpg | bin | 0 -> 95735 bytes |
4 files changed, 1343 insertions, 0 deletions
diff --git a/29503-h/29503-h.htm b/29503-h/29503-h.htm new file mode 100644 index 0000000..44323d5 --- /dev/null +++ b/29503-h/29503-h.htm @@ -0,0 +1,1343 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Style-Type" content="text/css" /> + <title> + The Project Gutenberg eBook of The Hated, by Paul Flehr + </title> + <style type="text/css"> + + p {margin-top: .75em; text-align: justify; margin-bottom: .75em;} + .noin,.cap {text-indent: 0em;} + body > p {text-indent: 1em;} + h1,h2 {text-align: left; clear: both;} + h1,.bk1 {margin-left: 40%;} + h2,.bk2 {margin-left: 30%;} + hr {width: 45%; margin: 1em auto; visibility: hidden;} + body {margin-left: 10%; margin-right: 10%;} + .center {text-align: center;} + .rgt {text-align: right;} + .figright {float: right; clear: right; margin: 1em 0 1em 1em; padding: 0; width: 353px;} + img {border: none;} + a:link,a:visited {text-decoration: none;} + p.cap:first-letter {float: left; margin-right: .05em; padding-top: .05em; font-size: 300%; line-height: .8em; width: auto;} + .dcap {text-transform: uppercase;} + .figt {float: left; clear: left; margin: 15px; padding: 0; width: 152px;} + .trn {border: solid 1px; margin: 3em 15%; min-height: 230px;} + .trn p {margin: 15px;} + .bk1,.bk3 {width: 20em;} + .bk1 p,.bk2 p {margin-top: 2em;} + .bk2 p {margin-bottom: 4em;} + .bk3 {margin: 1em auto; clear: both;} + + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of The Hated, by Frederik Pohl + +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 Hated + +Author: Frederik Pohl + +Illustrator: Dick Francis + +Release Date: July 24, 2009 [EBook #29503] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE HATED *** + + + + +Produced by Greg Weeks, Stephen Blundell and the Online +Distributed Proofreading Team at http://www.pgdp.net + + + + + + +</pre> + + +<h1><big>THE HATED</big></h1> + +<h2>By PAUL FLEHR</h2> + +<div class="bk1"><p><big><b><i>After space, there was always +one more river to cross ... the +far side of hatred and murder!</i></b></big></p></div> + +<div class="bk2"><p><b>Illustrated by DICK FRANCIS</b></p></div> + +<p class="cap"><span class="dcap">The</span> bar didn't have a name. +No name of any kind. Not +even an indication that it +had ever had one. All it said on the +outside was:</p> + +<div class="bk3"><p class="center">Cafe<br /> +EAT<br /> +<i>Cocktails</i></p></div> + +<p class="noin">which doesn't make a lot of sense. +But it was a bar. It had a big TV +set going ya-ta-ta ya-ta-ta in three +glorious colors, and a jukebox that +tried to drown out the TV with +that lousy music they play. Anyway, +it wasn't a kid hangout. I +kind of like it. But I wasn't supposed +to be there at all; it's in the +contract. I was supposed to stay +in New York and the New England +states.</p> + +<p>Cafe-EAT-<i>Cocktails</i> was right +across the river. I think the name +of the place was Hoboken, but +I'm not sure. It all had a kind +of dreamy feeling to it. I was—</p> + +<p>Well, I couldn't even remember +going there. I remembered one +minute I was downtown New +York, looking across the river. I +did that a lot. And then I was +there. I don't remember crossing +the river at all.</p> + +<p>I was drunk, you know.</p> + +<hr /> + +<p class="cap"><span class="dcap">You</span> know how it is? Double +bourbons and keep them coming. +And after a while the bartender +stops bringing me the ginger +ale because gradually I forget to +mix them. I got pretty loaded long +before I left New York. I realize +that. I guess I had to get pretty +loaded to risk the pension and all.</p> + +<p>Used to be I didn't drink much, +but now, I don't know, when I +have one drink, I get to thinking +about Sam and Wally and Chowderhead +and Gilvey and the captain. +If I don't drink, I think about +them, too, and then I take a drink. +And that leads to another drink, +and it all comes out to the same +thing. Well, I guess I said it already, +I drink a pretty good +amount, but you can't blame me.</p> + +<p>There was a girl.</p> + +<p>I always get a girl someplace. +Usually they aren't much and this +one wasn't either. I mean she was +probably somebody's mother. She +was around thirty-five and not so +bad, though she had a long scar +under her ear down along her +throat to the little round spot +where her larynx was. It wasn't +ugly. She smelled nice—while I +could still smell, you know—and +she didn't talk much. I liked that. +Only—</p> + +<p>Well, did you ever meet somebody +with a nervous cough? Like +when you say something funny—a +little funny, not a big yock—they +don't laugh and they don't +stop with just smiling, but they +sort of cough? She did that. I began +to itch. I couldn't help it. I +asked her to stop it.</p> + +<p>She spilled her drink and looked +at me almost as though she was +scared—and I had tried to say it +quietly, too.</p> + +<p>"Sorry," she said, a little angry, +a little scared. "<i>Sorry.</i> But you +don't have to—"</p> + +<p>"Forget it."</p> + +<p>"Sure. But you asked me to sit +down here with you, remember? +If you're going to—"</p> + +<p>"<i>Forget it!</i>" I nodded at the +bartender and held up two fingers. +"You need another drink," I said. +"The thing is," I said, "Gilvey used +to do that."</p> + +<p>"What?"</p> + +<p>"That cough."</p> + +<p>She looked puzzled. "You mean +like this?"</p> + +<p>"<i>Goddam it, stop it!</i>" Even the +bartender looked over at me that +time. Now she was really mad, +but I didn't want her to go away. +I said, "Gilvey was a fellow who +went to Mars with me. Pat Gilvey."</p> + +<p>"<i>Oh.</i>" She sat down again and +leaned across the table, low. +"<i>Mars.</i>"</p> + +<hr /> + +<p class="cap"><span class="dcap">The</span> bartender brought our +drinks and looked at me suspiciously. +I said, "Say, Mac, would +you turn down the air-conditioning?"</p> + +<p>"My name isn't Mac. No."</p> + +<p>"Have a heart. It's too cold in +here."</p> + +<p>"Sorry." He didn't sound sorry.</p> + +<p>I was cold. I mean that kind of +weather, it's always cold in those +places. You know around New +York in August? It hits eighty, +eighty-five, ninety. All the places +have air-conditioning and what +they really want is for you to wear +a shirt and tie.</p> + +<p>But I like to walk a lot. You +would, too, you know. And you +can't walk around much in long +pants and a suit coat and all that +stuff. Not around there. Not in +August. And so then, when I went +into a bar, it'd have one of those +built-in freezers for the used-car +salesmen with their dates, or maybe +their wives, all dressed up. For +what? But I froze.</p> + +<p>"<i>Mars</i>," the girl breathed. +"<i>Mars.</i>"</p> + +<p>I began to itch again. "Want +to dance?"</p> + +<p>"They don't have a license," +she said. "Byron, <i>I</i> didn't know +you'd been to <i>Mars</i>! Please <i>tell</i> me +about it."</p> + +<p>"It was all right," I said.</p> + +<p>That was a lie.</p> + +<p>She was interested. She forgot +to smile. It made her look nicer. +She said, "I knew a man—my +brother-in-law—he was my husband's +brother—I mean my ex-husband—"</p> + +<p>"I get the idea."</p> + +<p>"He worked for General Atomic. +In Rockford, Illinois. You know +where that is?"</p> + +<p>"Sure." I couldn't go there, but +I knew where Illinois was.</p> + +<p>"He worked on the first Mars +ship. Oh, fifteen years ago, wasn't +it? He always wanted to go himself, +but he couldn't pass the tests." +She stopped and looked at me.</p> + +<p>I knew what she was thinking. +But I didn't always look this way, +you know. Not that there's anything +wrong with me now, I mean, +but I couldn't pass the tests any +more. Nobody can. That's why +we're all one-trippers.</p> + +<p>I said, "The only reason I'm +shaking like this is because I'm +cold."</p> + +<p>It wasn't true, of course. It was +that cough of Gilvey's. I didn't +like to think about Gilvey, or Sam +or Chowderhead or Wally or the +captain. I didn't like to think +about any of them. It made me +shake.</p> + +<p>You see, we couldn't kill each +other. They wouldn't let us do +that. Before we took off, they did +something to our minds to make +sure. What they did, it doesn't +last forever. It lasts for two years +and then it wears off. That's long +enough, you see, because that gets +you to Mars and back; and it's +plenty long enough, in another +way, because it's like a strait-jacket.</p> + +<p>You know how to make a baby +cry? Hold his hands. It's the most +basic thing there is. What they did +to us so we couldn't kill each +other, it was like being tied up, +like having our hands held so we +couldn't get free. Well. But two +years was long enough. Too long.</p> + +<p>The bartender came over and +said, "Pal, I'm sorry. See, I turned +the air-conditioning down. You all +right? You look so—"</p> + +<p>I said, "Sure, I'm all right."</p> + +<p>He sounded worried. I hadn't +even heard him come back. The +girl was looking worried, too, I +guess because I was shaking so +hard I was spilling my drink. I +put some money on the table +without even counting it.</p> + +<p>"It's all right," I said. "We were +just going."</p> + +<p>"We were?" She looked confused. +But she came along with +me. They always do, once they +find out you've been to Mars.</p> + +<hr /> + +<p class="cap"><span class="dcap">In</span> the next place, she said, between +trips to the powder +room, "It must take a lot of +courage to sign up for something +like that. Were you scientifically +inclined in school? Don't you have +to know an awful lot to be a space-flyer? +Did you ever see any of +those little monkey characters they +say live on Mars? I read an article +about how they lived in little +cities of pup-tents or something +like that—only they didn't make +them, they grew them. Funny! +Ever see those? That trip must +have been a real drag, I bet. What +is it, nine months? You couldn't +have a baby! Excuse me— Say, tell +me. All that time, how'd you—well, +manage things? I mean didn't you +ever have to go to the you-know +or anything?"</p> + +<p>"We managed," I said.</p> + +<p>She giggled, and that reminded +her, so she went to the powder +room again. I thought about getting +up and leaving while she was +gone, but what was the use of that? +I'd only pick up somebody else.</p> + +<p>It was nearly midnight. A couple +of minutes wouldn't hurt. I reached +in my pocket for the little box +of pills they give us—it isn't refillable, +but we get a new prescription +in the mail every month, along +with the pension check. The label +on the box said:</p> + +<div class="bk3"><p class="center">CAUTION</p> + +<p><i>Use only as directed by physician. +Not to be taken by +persons suffering heart condition, +digestive upset or circulatory +disease. Not to be +used in conjunction with alcoholic +beverages.</i></p></div> + +<p>I took three of them. I don't +like to start them before midnight, +but anyway I stopped shaking.</p> + +<p>I closed my eyes, and then I +was on the ship again. The noise +in the bar became the noise of +the rockets and the air washers +and the sludge sluicers. I began +to sweat, although this place was +air-conditioned, too.</p> + +<p>I could hear Wally whistling to +himself the way he did, the sound +muffled by his oxygen mask and +drowned in the rocket noise, but +still perfectly audible. The tune +was <i>Sophisticated Lady</i>. Sometimes +it was <i>Easy to Love</i> and +sometimes <i>Chasing Shadows</i>, but +mostly <i>Sophisticated Lady</i>. He +was from Juilliard.</p> + +<p>Somebody sneezed, and it +sounded just like Chowderhead +sneezing. You know how everybody +sneezes according to his own +individual style? Chowderhead +had a ladylike little sneeze; it +went <i>hutta</i>, real quick, all through +the mouth, no nose involved. The +captain went <i>Hrasssh</i>; Wally was +Ashoo, ashoo, <i>ashoo</i>. Gilvey was +<i>Hutch</i>-uh. Sam didn't sneeze much, +but he sort of coughed and +sprayed, and that was worse.</p> + +<p>Sometimes I used to think about +killing Sam by tying him down +and having Wally and the captain +sneeze him to death. But that +was a kind of a joke, naturally, +when I was feeling good. Or pretty +good. Usually I thought about a +knife for Sam. For Chowderhead +it was a gun, right in the belly, +one shot. For Wally it was a tommy +gun—just stitching him up and +down, you know, back and forth. +The captain I would put in a cage +with hungry lions, and Gilvey I'd +strangle with my bare hands. That +was probably because of the cough, +I guess.</p> + +<hr /> + +<p class="cap"><span class="dcap">She</span> was back. "Please tell me +about it," she begged. "I'm <i>so</i> +curious."</p> + +<p>I opened my eyes. "You want +me to tell you about it?"</p> + +<p>"Oh, please!"</p> + +<p>"About what it's like to fly to +Mars on a rocket?"</p> + +<p>"Yes!"</p> + +<p>"All right," I said.</p> + +<p>It's wonderful what three little +white pills will do. I wasn't even +shaking.</p> + +<p>"There's six men, see? In a +space the size of a Buick, and +that's all the room there is. Two +of us in the bunks all the time, +four of us on watch. Maybe you +want to stay in the sack an extra +ten minutes—because it's the only +place on the ship where you can +stretch out, you know, the only +place where you can rest without +somebody's elbow in your side. +But you can't. Because by then +it's the next man's turn.</p> + +<p>"And maybe you don't have elbows +in your side while it's your +turn off watch, but in the starboard +bunk there's the air-regenerator +master valve—I bet I +could still show you the bruises +right around my kidneys—and in +the port bunk there's the emergency-escape-hatch +handle. That gets +you right in the temple, if you +turn your head too fast.</p> + +<p>"And you can't really sleep, I +mean not soundly, because of the +noise. That is, when the rockets +are going. When they aren't going, +then you're in free-fall, and +that's bad, too, because you dream +about falling. But when they're going, +I don't know, I think it's worse. +It's pretty loud.</p> + +<p>"And even if it weren't for the +noise, if you sleep too soundly you +might roll over on your oxygen +line. Then you dream about drowning. +Ever do that? You're strangling +and choking and you can't +get any air? It isn't dangerous, I +guess. Anyway, it always woke me +up in time. Though I heard about +a fellow in a flight six years ago—</p> + +<p>"Well. So you've always got +this oxygen mask on, all the time, +except if you take it off for a second +to talk to somebody. You +don't do that very often, because +what is there to say? Oh, maybe +the first couple of weeks, sure—everybody's +friends then. You +don't even need the mask, for that +matter. Or not very much. Everybody's +still pretty clean. The place +smells—oh, let's see—about like the +locker room in a gym. You know? +You can stand it. That's if nobody's +got space sickness, of +course. We were lucky that way.</p> + +<p>"But that's about how it's going +to get anyway, you know. Outside +the masks, it's soup. It isn't that +you smell it so much. You kind of +<i>taste</i> it, in the back of your mouth, +and your eyes sting. That's after +the first two or three months. Later +on, it gets worse.</p> + +<p>"And with the mask on, of +course, the oxygen mixture is coming +in under pressure. That's funny +if you're not used to it. Your +lungs have to work a little bit +harder to get rid of it, especially +when you're asleep, so after a +while the muscles get sore. And +then they get sorer. And then—</p> + +<p>"Well.</p> + +<p>"Before we take off, the psych +people give us a long doo-da that +keeps us from killing each other. +But they can't stop us from thinking +about it. And afterward, after +we're back on Earth—this is what +you won't read about in the articles—they +keep us apart. You +know how they work it? We get a +pension, naturally. I mean there's +got to be a pension, otherwise there +isn't enough money in the world +to make anybody go. But in the +contract, it says to get the pension +we have to stay in our own area.</p> + +<div class="figright"><img src="images/001.png" width="353" height="500" alt="" title="" /></div> + +<p>"The whole country's marked +off. Six sections. Each has at least +one big city in it. I was lucky, I +got a lot of them. They try to +keep it so every man's home town +is in his own section, but—well, +like with us, Chowderhead and the +captain both happened to come +from Santa Monica. I think it +was Chowderhead that got California, +Nevada, all that Southwest +area. It was the luck of the +draw. God knows what the captain +got.</p> + +<p>"Maybe New Jersey," I said, +and took another white pill.</p> + +<hr /> + +<p class="cap"><span class="dcap">We</span> went on to another place +and she said suddenly, "I +figured something out. The way +you keep looking around."</p> + +<p>"What did you figure out?"</p> + +<p>"Well, part of it was what you +said about the other fellow getting +New Jersey. This is New Jersey. +You don't belong in this section, +right?"</p> + +<p>"Right," I said after a minute.</p> + +<p>"So why are you here? I know +why. You're here because you're +looking for somebody."</p> + +<p>"That's right."</p> + +<p>She said triumphantly, "You +want to find that other fellow from +your crew! You want to fight +him!"</p> + +<p>I couldn't help shaking, white +pills or no white pills. But I had +to correct her.</p> + +<p>"No. I want to kill him."</p> + +<p>"How do you know he's here? +He's got a lot of states to roam +around in, too, doesn't he?"</p> + +<p>"Six. New Jersey, Pennsylvania, +Delaware, Maryland—all the way +down to Washington."</p> + +<p>"Then how do you know—"</p> + +<p>"He'll be here." I didn't have to +tell her how I knew. But I knew.</p> + +<p>I wasn't the only one who spent +his time at the border of his assigned +area, looking across the +river or staring across a state line, +knowing that somebody was on +the other side. I knew. You fight +a war and you don't have to guess +that the enemy might have his +troops a thousand miles away from +the battle line. You know where +his troops will be. You know he +wants to fight, too.</p> + +<p><i>Hutta. Hutta.</i></p> + +<p>I spilled my drink.</p> + +<p>I looked at her. "You—you +didn't—"</p> + +<p>She looked frightened. "What's +the matter?"</p> + +<p>"<i>Did you just sneeze?</i>"</p> + +<p>"Sneeze? Me? Did I—"</p> + +<p>I said something quick and +nasty, I don't know what. No! It +hadn't been her. I knew it.</p> + +<p>It was Chowderhead's sneeze.</p> + +<hr /> + +<p class="cap"><span class="dcap">Chowderhead</span>. Marvin T. +Roebuck, his name was. Five +feet eight inches tall. Dark-complected, +with a cast in one eye. +Spoke with a Midwest kind of +accent, even though he came from +California—"shrick" for "shriek," +"hawror" for "horror," like that. It +drove me crazy after a while. Maybe +that gives you an idea what he +talked about mostly. A skunk. A +thoroughgoing, deep-rooted, mother-murdering +skunk.</p> + +<p>I kicked over my chair and +roared, "Roebuck! Where are you, +damn you?"</p> + +<p>The bar was all at once silent. +Only the jukebox kept going.</p> + +<p>"I know you're here!" I +screamed. "Come out and get it! +You louse, I told you I'd get you +for calling me a liar the day Wally +sneaked a smoke!"</p> + +<p>Silence, everybody looking at +me.</p> + +<p>Then the door of the men's room +opened.</p> + +<p>He came out.</p> + +<p>He looked <i>lousy</i>. Eyes all red-rimmed +and his hair falling out—the +poor crumb couldn't have been +over twenty-nine. He shrieked, +"You!" He called me a million +names. He said, "You thieving +rat, I'll teach you to try to cheat +me out of my candy ration!"</p> + +<p>He had a knife.</p> + +<p>I didn't care. I didn't have anything +and that was stupid, but it +didn't matter. I got a bottle of +beer from the next table and +smashed it against the back of a +chair. It made a good weapon, you +know; I'd take that against a knife +any time.</p> + +<p>I ran toward him, and he came +all staggering and lurching toward +me, looking crazy and desperate, +mumbling and raving—I could +hardly hear him, because I was +talking, too. Nobody tried to stop +us. Somebody went out the door +and I figured it was to call the +cops, but that was all right. Once +I took care of Chowderhead, I +didn't care what the cops did.</p> + +<p>I went for the face.</p> + +<p>He cut me first. I felt the knife +slide up along my left arm but, +you know, it didn't even hurt, only +kind of stung a little. I didn't care +about that. I got him in the face, +and the bottle came away, and it +was all like gray and white jelly, +and then blood began to spring +out. He screamed. Oh, that scream! +I never heard anything like that +scream. It was what I had been +waiting all my life for.</p> + +<p>I kicked him as he staggered +back, and he fell. And I was on +top of him, with the bottle, and +I was careful to stay away from +the heart or the throat, because +that was too quick, but I worked +over the face, and I felt his knife +get me a couple times more, and—</p> + +<p>And—</p> + +<hr /> + +<p class="cap"><span class="dcap">And</span> I woke up, you know. And +there was Dr. Santly over me +with a hypodermic needle that he'd +just taken out of my arm, and four +male nurses in fatigues holding +me down. And I was drenched +with sweat.</p> + +<p>For a minute, I didn't know +where I was. It was a horrible +queasy falling sensation, as though +the bar and the fight and the +world were all dissolving into +smoke around me.</p> + +<p>Then I knew where I was.</p> + +<p>It was almost worse.</p> + +<p>I stopped yelling and just lay +there, looking up at them.</p> + +<p>Dr. Santly said, trying to keep +his face friendly and noncommittal, +"You're doing much better, +Byron, boy. <i>Much</i> better."</p> + +<p>I didn't say anything.</p> + +<p>He said, "You worked through +the whole thing in two hours and +eight minutes. Remember the first +time? You were sixteen hours killing +him. Captain Van Wyck it was +that time, remember? Who was it +this time?"</p> + +<p>"Chowderhead." I looked at the +male nurses. Doubtfully, they let +go of my arms and legs.</p> + +<p>"Chowderhead," said Dr. Santly. +"Oh—Roebuck. That boy," he +said mournfully, his expression +saddened, "he's not coming along +nearly as well as you. <i>Nearly.</i> He +can't run through a cycle in less +than five hours. And, that's peculiar, +it's usually you he— Well, +I better not say that, shall I? No +sense setting up a counter-impression +when your pores are all open, +so to speak?" He smiled at me, +but he was a little worried in back +of the smile.</p> + +<p>I sat up. "Anybody got a cigarette?"</p> + +<p>"Give him a cigarette, Johnson," +the doctor ordered the male nurse +standing alongside my right foot.</p> + +<p>Johnson did. I fired up.</p> + +<p>"You're coming along <i>splendidly</i>," +Dr. Santly said. He was one +of these psych guys that thinks if +you say it's so, it makes it so. You +know that kind? "We'll have you +down under an hour before the +end of the week. That's <i>marvelous</i> +progress. Then we can work on the +conscious level! You're doing extremely +well, whether you know it +or not. Why, in six months—say +in eight months, because I like +to be conservative—" he twinkled +at me—"we'll have you out of +here! You'll be the first of your +crew to be discharged, you know +that?"</p> + +<p>"That's nice," I said. "The others +aren't doing so well?"</p> + +<p>"No. Not at all well, most of +them. Particularly Dr. Gilvey. The +run-throughs leave him in terrible +shape. I don't mind admitting I'm +worried about him."</p> + +<p>"That's nice," I said, and this +time I meant it.</p> + +<hr /> + +<p class="cap"><span class="dcap">He</span> looked at me thoughtfully, +but all he did was say to the +male nurses, "He's all right now. +Help him off the table."</p> + +<p>It was hard standing up. I had +to hold onto the rail around the +table for a minute. I said my set +little speech: "Dr. Santly, I want +to tell you again how grateful I +am for this. I was reconciled to +living the rest of my life confined +to one part of the country, the +way the other crews always did. +But this is much better. I appreciate +it. I'm sure the others do, +too."</p> + +<p>"Of course, boy. Of course." He +took out a fountain pen and made +a note on my chart; I couldn't +see what it was, but he looked +gratified. "It's no more than you +have coming to you, Byron," he +said. "I'm grateful that I could +be the one to make it come to +pass."</p> + +<p>He glanced conspiratorially at +the male nurses. "You know how +important this is to me. It's the +triumph of a whole new approach +to psychic rehabilitation. I mean +to say our heroes of space travel +are entitled to freedom when they +come back home to Earth, aren't +they?"</p> + +<p>"Definitely," I said, scrubbing +some of the sweat off my face +onto my sleeve.</p> + +<p>"So we've got to end this system +of designated areas. We can't +avoid the tensions that accompany +space travel, no. But if we can +help you eliminate harmful tensions +with a few run-throughs, why, +it's not too high a price to pay, +is it?"</p> + +<p>"Not a bit."</p> + +<p>"I mean to say," he said, warming +up, "you can look forward +to the time when you'll be able to +mingle with your old friends from +the rocket, free and easy, without +any need for restraint. That's a lot +to look forward to, isn't it?"</p> + +<p>"It is," I said. "I look forward +to it very much," I said. "And I +know exactly what I'm going to +do the first time I meet one—I +mean without any restraints, as +you say," I said. And it was true; +I did. Only it wouldn't be a broken +beer bottle that I would do it +with.</p> + +<p>I had much more elaborate ideas +than that.</p> + +<p class="rgt"><b>—PAUL FLEHR</b></p> + +<div class="trn"><div class="figt"><a href="images/002-2.jpg"><img src="images/002-1.jpg" width="152" height="200" alt="" title="" /></a></div> + +<p><big><b>Transcriber's Note:</b></big></p> + +<p>This etext was produced from <i>Galaxy Science Fiction</i> January 1958. +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.</p></div> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of The Hated, by Frederik Pohl + +*** END OF THIS PROJECT GUTENBERG EBOOK THE HATED *** + +***** This file should be named 29503-h.htm or 29503-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/9/5/0/29503/ + +Produced by Greg Weeks, Stephen Blundell and the Online +Distributed Proofreading Team at http://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 +http://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 http://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 +http://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 http://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 http://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 checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is 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: + + http://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. + + +</pre> + +</body> +</html> diff --git a/29503-h/images/001.png b/29503-h/images/001.png Binary files differnew file mode 100644 index 0000000..f9cd7ef --- /dev/null +++ b/29503-h/images/001.png diff --git a/29503-h/images/002-1.jpg b/29503-h/images/002-1.jpg Binary files differnew file mode 100644 index 0000000..7f3d363 --- /dev/null +++ b/29503-h/images/002-1.jpg diff --git a/29503-h/images/002-2.jpg b/29503-h/images/002-2.jpg Binary files differnew file mode 100644 index 0000000..654a842 --- /dev/null +++ b/29503-h/images/002-2.jpg |
