diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:47:41 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:47:41 -0700 |
| commit | a9bf4db785b9b10ba30fe6aa169e8590f110fbd5 (patch) | |
| tree | ffd140398f3a658ec407cbdda91cd2f3725896ea | |
| -rw-r--r-- | .gitattributes | 3 | ||||
| -rw-r--r-- | 29509-h.zip | bin | 0 -> 185398 bytes | |||
| -rw-r--r-- | 29509-h/29509-h.htm | 1248 | ||||
| -rw-r--r-- | 29509-h/images/001.png | bin | 0 -> 64617 bytes | |||
| -rw-r--r-- | 29509-h/images/002-1.jpg | bin | 0 -> 16335 bytes | |||
| -rw-r--r-- | 29509-h/images/002-2.jpg | bin | 0 -> 88429 bytes | |||
| -rw-r--r-- | 29509.txt | 919 | ||||
| -rw-r--r-- | 29509.zip | bin | 0 -> 14605 bytes | |||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 |
10 files changed, 2183 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/29509-h.zip b/29509-h.zip Binary files differnew file mode 100644 index 0000000..42c2ccb --- /dev/null +++ b/29509-h.zip diff --git a/29509-h/29509-h.htm b/29509-h/29509-h.htm new file mode 100644 index 0000000..e7b73af --- /dev/null +++ b/29509-h/29509-h.htm @@ -0,0 +1,1248 @@ +<!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 Warm, by Robert Sheckley + </title> + <style type="text/css"> + + p {margin-top: .75em; text-align: justify; margin-bottom: .75em;} + h2,.pr1 {text-align: center;} + h1 {margin-left: 50%; text-align: left;} + hr {width: 45%; visibility: hidden;} + body {margin-left: 10%; margin-right: 10%;} + .rgt {text-align: right;} + .figright {float: right; clear: right; margin: 1em 0 1em 1em; padding: 0; width: 357px;} + 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: 147px;} + .trn {border: solid 1px; margin: 3em 15%; min-height: 230px;} + .trn p {margin: 15px;} + .bk1 {margin-left: 55%; width: 18em;} + .bk1 p,hr {margin: 2em auto;} + .pr1 {margin-bottom: 4em;} + + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of Warm, by Robert Sheckley + +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: Warm + +Author: Robert Sheckley + +Illustrator: Ed Emshwiller + +Release Date: July 25, 2009 [EBook #29509] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK WARM *** + + + + +Produced by Greg Weeks, Stephen Blundell and the Online +Distributed Proofreading Team at https://www.pgdp.net + + + + + + +</pre> + + +<h1><big>warm</big></h1> + +<h2><small>By ROBERT SHECKLEY</small></h2> + +<div class="bk1"><p><big><b><i>It was a joyous journey Anders +set out on ... to reach his goal +... but look where he wound up!</i></b></big></p></div> + +<p class="pr1"><big><b>Illustrated by EMSH</b></big></p> + +<p class="cap"><span class="dcap">Anders</span> lay on his bed, fully +dressed except for his +shoes and black bow tie, +contemplating, with a certain uneasiness, +the evening before him. +In twenty minutes he would pick +up Judy at her apartment, and +that was the uneasy part of it.</p> + +<p>He had realized, only seconds +ago, that he was in love with her.</p> + +<p>Well, he'd tell her. The evening +would be memorable. He would +propose, there would be kisses, +and the seal of acceptance would, +figuratively speaking, be stamped +across his forehead.</p> + +<p>Not too pleasant an outlook, +he decided. It really would be +much more comfortable not to +be in love. What had done it? +A look, a touch, a thought? It +didn't take much, he knew, and +stretched his arms for a thorough +yawn.</p> + +<p>"Help me!" a voice said.</p> + +<p>His muscles spasmed, cutting +off the yawn in mid-moment. He +sat upright on the bed, then +grinned and lay back again.</p> + +<p>"You must help me!" the voice +insisted.</p> + +<p>Anders sat up, reached for a +polished shoe and fitted it on, +giving his full attention to the +tying of the laces.</p> + +<p>"Can you hear me?" the voice +asked. "You can, can't you?"</p> + +<p>That did it. "Yes, I can hear +you," Anders said, still in a high +good humor. "Don't tell me +you're my guilty subconscious, +attacking me for a childhood +trauma I never bothered to resolve. +I suppose you want me to +join a monastery."</p> + +<p>"I don't know what you're +talking about," the voice said. +"I'm no one's subconscious. I'm +<i>me</i>. Will you help me?"</p> + +<p>Anders believed in voices as +much as anyone; that is, he didn't +believe in them at all, until he +heard them. Swiftly he catalogued +the possibilities. Schizophrenia +was the best answer, of +course, and one in which his colleagues +would concur. But Anders +had a lamentable confidence +in his own sanity. In which case—</p> + +<p>"Who are you?" he asked.</p> + +<p>"I don't know," the voice answered.</p> + +<p>Anders realized that the voice +was speaking within his own +mind. Very suspicious.</p> + +<p>"You don't know who you are," +Anders stated. "Very well. <i>Where</i> +are you?"</p> + +<p>"I don't know that, either." +The voice paused, and went on. +"Look, I know how ridiculous +this must sound. Believe me, I'm +in some sort of limbo. I don't +know how I got here or who I am, +but I want desperately to get +out. Will you help me?"</p> + +<hr /> + +<p class="cap"><span class="dcap">Still</span> fighting the idea of a +voice speaking within his head, +Anders knew that his next decision +was vital. He had to accept—or +reject—his own sanity.</p> + +<p>He accepted it.</p> + +<p>"All right," Anders said, lacing +the other shoe. "I'll grant that +you're a person in trouble, and +that you're in some sort of telepathic +contact with me. Is there +anything else you can tell me?"</p> + +<p>"I'm afraid not," the voice said, +with infinite sadness. "You'll have +to find out for yourself."</p> + +<p>"Can you contact anyone +else?"</p> + +<p>"No."</p> + +<p>"Then how can you talk with +me?"</p> + +<p>"I don't know."</p> + +<p>Anders walked to his bureau +mirror and adjusted his black +bow tie, whistling softly under his +breath. Having just discovered +that he was in love, he wasn't +going to let a little thing like a +voice in his mind disturb him.</p> + +<p>"I really don't see how I can +be of any help," Anders said, +brushing a bit of lint from his +jacket. "You don't know where +you are, and there don't seem to +be any distinguishing landmarks. +How am I to find you?" He +turned and looked around the +room to see if he had forgotten +anything.</p> + +<p>"I'll know when you're close," +the voice said. "You were warm +just then."</p> + +<p>"Just then?" All he had done +was look around the room. He +did so again, turning his head +slowly. Then it happened.</p> + +<p>The room, from one angle, +looked different. It was suddenly +a mixture of muddled colors, +instead of the carefully blended +pastel shades he had selected. +The lines of wall, floor and ceiling +were strangely off proportion, +zigzag, unrelated.</p> + +<p>Then everything went back to +normal.</p> + +<p>"You were <i>very</i> warm," the +voice said. "It's a question of +seeing things correctly."</p> + +<p>Anders resisted the urge to +scratch his head, for fear of disarranging +his carefully combed +hair. What he had seen wasn't +so strange. Everyone sees one or +two things in his life that make +him doubt his normality, doubt +sanity, doubt his very existence. +For a moment the orderly Universe +is disarranged and the fabric +of belief is ripped.</p> + +<p>But the moment passes.</p> + +<p>Anders remembered once, as a +boy, awakening in his room in the +middle of the night. How strange +everything had looked. Chairs, +table, all out of proportion, swollen +in the dark. The ceiling pressing +down, as in a dream.</p> + +<p>But that had also passed.</p> + +<p>"Well, old man," he said, "if I +get warm again, let me know."</p> + +<p>"I will," the voice in his head +whispered. "I'm sure you'll find +me."</p> + +<p>"I'm glad you're so sure," Anders +said gaily, switched off the +lights and left.</p> + +<hr /> + +<p class="cap"><span class="dcap">Lovely</span> and smiling, Judy +greeted him at the door. +Looking at her, Anders sensed +her knowledge of the moment. +Had she felt the change in him, +or predicted it? Or was love making +him grin like an idiot?</p> + +<p>"Would you like a before-party +drink?" she asked.</p> + +<p>He nodded, and she led him +across the room, to the improbable +green-and-yellow couch. Sitting +down, Anders decided he +would tell her when she came +back with the drink. No use in +putting off the fatal moment. A +lemming in love, he told himself.</p> + +<p>"You're getting warm again," +the voice said.</p> + +<p>He had almost forgotten his +invisible friend. Or fiend, as the +case could well be. What would +Judy say if she knew he was +hearing voices? Little things like +that, he reminded himself, often +break up the best of romances.</p> + +<p>"Here," she said, handing him +a drink.</p> + +<p>Still smiling, he noticed. The +number two smile—to a prospective +suitor, provocative and +understanding. It had been preceded, +in their relationship, by +the number one nice-girl smile, +the don't-misunderstand-me +smile, to be worn on all occasions, +until the correct words have been +mumbled.</p> + +<p>"That's right," the voice said. +"It's in how you look at things."</p> + +<p>Look at what? Anders glanced +at Judy, annoyed at his thoughts. +If he was going to play the lover, +let him play it. Even through the +astigmatic haze of love, he was +able to appreciate her blue-gray +eyes, her fine skin (if one overlooked +a tiny blemish on the left +temple), her lips, slightly reshaped +by lipstick.</p> + +<p>"How did your classes go today?" +she asked.</p> + +<p>Well, of course she'd ask that, +Anders thought. Love is marking +time.</p> + +<p>"All right," he said. "Teaching +psychology to young apes—"</p> + +<p>"Oh, come now!"</p> + +<p>"Warmer," the voice said.</p> + +<p>What's the matter with me, +Anders wondered. She really is +a lovely girl. The <i>gestalt</i> that is +Judy, a pattern of thoughts, expressions, +movements, making up +the girl I—</p> + +<p>I what?</p> + +<p>Love?</p> + +<p>Anders shifted his long body +uncertainly on the couch. He +didn't quite understand how this +train of thought had begun. It +annoyed him. The analytical +young instructor was better off +in the classroom. Couldn't science +wait until 9:10 in the morning?</p> + +<p>"I was thinking about you today," +Judy said, and Anders +knew that she had sensed the +change in his mood.</p> + +<p>"Do you see?" the voice asked +him. "You're getting much better +at it."</p> + +<p>"I don't see anything," Anders +thought, but the voice was right. +It was as though he had a clear +line of inspection into Judy's +mind. Her feelings were nakedly +apparent to him, as meaningless +as his room had been in that +flash of undistorted thought.</p> + +<p>"I really was thinking about +you," she repeated.</p> + +<p>"Now look," the voice said.</p> + +<hr /> + +<div class="figright"><img src="images/001.png" width="357" height="500" alt="" title="" /></div> + +<p class="cap"><span class="dcap">Anders</span>, watching the expressions +on Judy's face, felt the +strangeness descend on him. He +was back in the nightmare perception +of that moment in his +room. This time it was as though +he were watching a machine in +a laboratory. The object of this +operation was the evocation and +preservation of a particular +mood. The machine goes through +a searching process, invoking +trains of ideas to achieve the +desired end.</p> + +<p>"Oh, were you?" he asked, +amazed at his new perspective.</p> + +<p>"Yes ... I wondered what you +were doing at noon," the reactive +machine opposite him on +the couch said, expanding its +shapely chest slightly.</p> + +<p>"Good," the voice said, commending +him for his perception.</p> + +<p>"Dreaming of you, of course," +he said to the flesh-clad skeleton +behind the total <i>gestalt</i> Judy. The +flesh machine rearranged its +limbs, widened its mouth to denote +pleasure. The mechanism +searched through a complex of +fears, hopes, worries, through +half-remembrances of analogous +situations, analogous solutions.</p> + +<p>And this was what he loved. +Anders saw too clearly and hated +himself for seeing. Through his +new nightmare perception, the +absurdity of the entire room +struck him.</p> + +<p>"Were you really?" the articulating +skeleton asked him.</p> + +<p>"You're coming closer," the +voice whispered.</p> + +<p>To what? The personality? +There was no such thing. There +was no true cohesion, no depth, +nothing except a web of surface +reactions, stretched across automatic +visceral movements.</p> + +<p>He was coming closer to the +truth.</p> + +<p>"Sure," he said sourly.</p> + +<p>The machine stirred, searching +for a response.</p> + +<p>Anders felt a quick tremor of +fear at the sheer alien quality +of his viewpoint. His sense of +formalism had been sloughed off, +his agreed-upon reactions bypassed. +What would be revealed +next?</p> + +<p>He was seeing clearly, he realized, +as perhaps no man had +ever seen before. It was an oddly +exhilarating thought.</p> + +<p>But could he still return to +normality?</p> + +<p>"Can I get you a drink?" the +reaction machine asked.</p> + +<p>At that moment Anders was as +thoroughly out of love as a man +could be. Viewing one's intended +as a depersonalized, sexless piece +of machinery is not especially +conducive to love. But it is quite +stimulating, intellectually.</p> + +<p>Anders didn't want normality. +A curtain was being raised and +he wanted to see behind it. What +was it some Russian scientist—Ouspensky, +wasn't it—had said?</p> + +<p>"<i>Think in other categories.</i>"</p> + +<p>That was what he was doing, +and would continue to do.</p> + +<p>"Good-by," he said suddenly.</p> + +<p>The machine watched him, +open-mouthed, as he walked out +the door. Delayed circuit reactions +kept it silent until it heard +the elevator door close.</p> + +<hr /> + +<p class="cap"><span class="dcap">"You</span> were very warm in +there," the voice within his +head whispered, once he was on +the street. "But you still don't +understand everything."</p> + +<p>"Tell me, then," Anders said, +marveling a little at his equanimity. +In an hour he had bridged +the gap to a completely different +viewpoint, yet it seemed perfectly +natural.</p> + +<p>"I can't," the voice said. "You +must find it yourself."</p> + +<p>"Well, let's see now," Anders +began. He looked around at the +masses of masonry, the convention +of streets cutting through +the architectural piles. "Human +life," he said, "is a series of conventions. +When you look at a +girl, you're supposed to see—a +pattern, not the underlying formlessness."</p> + +<p>"That's true," the voice agreed, +but with a shade of doubt.</p> + +<p>"Basically, there is no form. +Man produces <i>gestalts</i>, and cuts +form out of the plethora of nothingness. +It's like looking at a set +of lines and saying that they represent +a figure. We look at a mass +of material, extract it from the +background and say it's a man. +But in truth there is no such +thing. There are only the humanizing +features that we—myopically—attach +to it. Matter is conjoined, +a matter of viewpoint."</p> + +<p>"You're not seeing it now," +said the voice.</p> + +<p>"Damn it," Anders said. He was +certain that he was on the track +of something big, perhaps something +ultimate. "Everyone's had +the experience. At some time in +his life, everyone looks at a +familiar object and can't make +any sense out of it. Momentarily, +the <i>gestalt</i> fails, but the true +moment of sight passes. The mind +reverts to the superimposed pattern. +Normalcy continues."</p> + +<p>The voice was silent. Anders +walked on, through the <i>gestalt</i> +city.</p> + +<p>"There's something else, isn't +there?" Anders asked.</p> + +<p>"Yes."</p> + +<p>What could that be, he asked +himself. Through clearing eyes, +Anders looked at the formality +he had called his world.</p> + +<p>He wondered momentarily if +he would have come to this if +the voice hadn't guided him. Yes, +he decided after a few moments, +it was inevitable.</p> + +<p>But who was the voice? And +what had he left out?</p> + +<p>"Let's see what a party looks +like now," he said to the voice.</p> + +<hr /> + +<p class="cap"><span class="dcap">The</span> party was a masquerade; +the guests were all wearing +their faces. To Anders, their motives, +individually and collectively, +were painfully apparent. Then +his vision began to clear further.</p> + +<p>He saw that the people weren't +truly individual. They were discontinuous +lumps of flesh sharing +a common vocabulary, yet +not even truly discontinuous.</p> + +<p>The lumps of flesh were a part +of the decoration of the room and +almost indistinguishable from it. +They were one with the lights, +which lent their tiny vision. They +were joined to the sounds they +made, a few feeble tones out of +the great possibility of sound. +They blended into the walls.</p> + +<p>The kaleidoscopic view came +so fast that Anders had trouble +sorting his new impressions. He +knew now that these people existed +only as patterns, on the same +basis as the sounds they made +and the things they thought they +saw.</p> + +<p><i>Gestalts</i>, sifted out of the vast, +unbearable real world.</p> + +<p>"Where's Judy?" a discontinuous +lump of flesh asked him. This +particular lump possessed enough +nervous mannerisms to convince +the other lumps of his reality. +He wore a loud tie as further +evidence.</p> + +<p>"She's sick," Anders said. The +flesh quivered into an instant +sympathy. Lines of formal mirth +shifted to formal woe.</p> + +<p>"Hope it isn't anything serious," +the vocal flesh remarked.</p> + +<p>"You're warmer," the voice said +to Anders.</p> + +<p>Anders looked at the object in +front of him.</p> + +<p>"She hasn't long to live," he +stated.</p> + +<p>The flesh quivered. Stomach +and intestines contracted in sympathetic +fear. Eyes distended, +mouth quivered.</p> + +<p>The loud tie remained the +same.</p> + +<p>"My God! You don't mean it!"</p> + +<p>"What are you?" Anders asked +quietly.</p> + +<p>"What do you mean?" the indignant +flesh attached to the tie +demanded. Serene within its reality, +it gaped at Anders. Its mouth +twitched, undeniable proof that +it was real and sufficient. "You're +drunk," it sneered.</p> + +<p>Anders laughed and left the +party.</p> + +<hr /> + +<p class="cap"><span class="dcap">"There</span> is still something +you don't know," the voice +said. "But you were hot! I could +feel you near me."</p> + +<p>"What are you?" Anders asked +again.</p> + +<p>"I don't know," the voice admitted. +"I am a person. I am I. +I am trapped."</p> + +<p>"So are we all," Anders said. +He walked on asphalt, surrounded +by heaps of concrete, silicates, +aluminum and iron alloys. Shapeless, +meaningless heaps that made +up the <i>gestalt</i> city.</p> + +<p>And then there were the imaginary +lines of demarcation dividing +city from city, the artificial +boundaries of water and land.</p> + +<p>All ridiculous.</p> + +<p>"Give me a dime for some +coffee, mister?" something asked, +a thing indistinguishable from +any other thing.</p> + +<p>"Old Bishop Berkeley would +give a nonexistent dime to your +nonexistent presence," Anders +said gaily.</p> + +<p>"I'm really in a bad way," the +voice whined, and Anders perceived +that it was no more than +a series of modulated vibrations.</p> + +<p>"Yes! Go on!" the voice commanded.</p> + +<p>"If you could spare me a +quarter—" the vibrations said, +with a deep pretense at meaning.</p> + +<p>No, what was there behind the +senseless patterns? Flesh, mass. +What was that? All made up of +atoms.</p> + +<p>"I'm really hungry," the intricately +arranged atoms muttered.</p> + +<p>All atoms. Conjoined. There +were no true separations between +atom and atom. Flesh was stone, +stone was light. Anders looked at +the masses of atoms that were +pretending to solidity, meaning +and reason.</p> + +<p>"Can't you help me?" a clump +of atoms asked. But the clump +was identical with all the other +atoms. Once you ignored the superimposed +patterns, you could +see the atoms were random, scattered.</p> + +<p>"I don't believe in you," Anders +said.</p> + +<p>The pile of atoms was gone.</p> + +<p>"Yes!" the voice cried. "Yes!"</p> + +<p>"I don't believe in any of it," +Anders said. After all, what was +an atom?</p> + +<p>"Go on!" the voice shouted. +"You're hot! Go on!"</p> + +<p>What was an atom? An empty +space surrounded by an empty +space.</p> + +<p>Absurd!</p> + +<p>"Then it's all false!" Anders +said. And he was alone under +the stars.</p> + +<p>"That's right!" the voice within +his head screamed. "Nothing!"</p> + +<p>But stars, Anders thought. How +can one believe—</p> + +<p>The stars disappeared. Anders +was in a gray nothingness, a void. +There was nothing around him +except shapeless gray.</p> + +<p>Where was the voice?</p> + +<p>Gone.</p> + +<p>Anders perceived the delusion +behind the grayness, and then +there was nothing at all.</p> + +<p>Complete nothingness, and +himself within it.</p> + +<hr /> + +<p class="cap"><span class="dcap">Where</span> was he? What did it +mean? Anders' mind tried to +add it up.</p> + +<p>Impossible. <i>That</i> couldn't be +true.</p> + +<p>Again the score was tabulated, +but Anders' mind couldn't accept +the total. In desperation, the +overloaded mind erased the figures, +eradicated the knowledge, +erased itself.</p> + +<p>"Where am I?"</p> + +<p>In nothingness. Alone.</p> + +<p>Trapped.</p> + +<p>"Who am I?"</p> + +<p>A voice.</p> + +<p>The voice of Anders searched +the nothingness, shouted, "Is +there anyone here?"</p> + +<p>No answer.</p> + +<p>But there was someone. All directions +were the same, yet +moving along one he could make +contact ... with someone. The +voice of Anders reached back to +someone who could save him, +perhaps.</p> + +<p>"Save me," the voice said to +Anders, lying fully dressed on +his bed, except for his shoes and +black bow tie.</p> + +<p class="rgt"><b>—ROBERT SHECKLEY</b></p> + +<div class="trn"><div class="figt"><a href="images/002-2.jpg"><img src="images/002-1.jpg" width="147" 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> June 1953. +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 Warm, by Robert Sheckley + +*** END OF THIS PROJECT GUTENBERG EBOOK WARM *** + +***** This file should be named 29509-h.htm or 29509-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/9/5/0/29509/ + +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. + + +</pre> + +</body> +</html> diff --git a/29509-h/images/001.png b/29509-h/images/001.png Binary files differnew file mode 100644 index 0000000..a1fac90 --- /dev/null +++ b/29509-h/images/001.png diff --git a/29509-h/images/002-1.jpg b/29509-h/images/002-1.jpg Binary files differnew file mode 100644 index 0000000..dd1046a --- /dev/null +++ b/29509-h/images/002-1.jpg diff --git a/29509-h/images/002-2.jpg b/29509-h/images/002-2.jpg Binary files differnew file mode 100644 index 0000000..e942797 --- /dev/null +++ b/29509-h/images/002-2.jpg diff --git a/29509.txt b/29509.txt new file mode 100644 index 0000000..b73c5fe --- /dev/null +++ b/29509.txt @@ -0,0 +1,919 @@ +The Project Gutenberg EBook of Warm, by Robert Sheckley + +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: Warm + +Author: Robert Sheckley + +Illustrator: Ed Emshwiller + +Release Date: July 25, 2009 [EBook #29509] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK WARM *** + + + + +Produced by Greg Weeks, Stephen Blundell and the Online +Distributed Proofreading Team at https://www.pgdp.net + + + + + + + + + +warm + +By ROBERT SHECKLEY + + + _It was a joyous journey Anders + set out on ... to reach his goal + ... but look where he wound up!_ + + +Illustrated by EMSH + + +Anders lay on his bed, fully dressed except for his shoes and black bow +tie, contemplating, with a certain uneasiness, the evening before him. +In twenty minutes he would pick up Judy at her apartment, and that was +the uneasy part of it. + +He had realized, only seconds ago, that he was in love with her. + +Well, he'd tell her. The evening would be memorable. He would propose, +there would be kisses, and the seal of acceptance would, figuratively +speaking, be stamped across his forehead. + +Not too pleasant an outlook, he decided. It really would be much more +comfortable not to be in love. What had done it? A look, a touch, a +thought? It didn't take much, he knew, and stretched his arms for a +thorough yawn. + +"Help me!" a voice said. + +His muscles spasmed, cutting off the yawn in mid-moment. He sat upright +on the bed, then grinned and lay back again. + +"You must help me!" the voice insisted. + +Anders sat up, reached for a polished shoe and fitted it on, giving his +full attention to the tying of the laces. + +"Can you hear me?" the voice asked. "You can, can't you?" + +That did it. "Yes, I can hear you," Anders said, still in a high good +humor. "Don't tell me you're my guilty subconscious, attacking me for a +childhood trauma I never bothered to resolve. I suppose you want me to +join a monastery." + +"I don't know what you're talking about," the voice said. "I'm no one's +subconscious. I'm _me_. Will you help me?" + +Anders believed in voices as much as anyone; that is, he didn't believe +in them at all, until he heard them. Swiftly he catalogued the +possibilities. Schizophrenia was the best answer, of course, and one in +which his colleagues would concur. But Anders had a lamentable +confidence in his own sanity. In which case-- + +"Who are you?" he asked. + +"I don't know," the voice answered. + +Anders realized that the voice was speaking within his own mind. Very +suspicious. + +"You don't know who you are," Anders stated. "Very well. _Where_ are +you?" + +"I don't know that, either." The voice paused, and went on. "Look, I +know how ridiculous this must sound. Believe me, I'm in some sort of +limbo. I don't know how I got here or who I am, but I want desperately +to get out. Will you help me?" + + * * * * * + +Still fighting the idea of a voice speaking within his head, Anders knew +that his next decision was vital. He had to accept--or reject--his own +sanity. + +He accepted it. + +"All right," Anders said, lacing the other shoe. "I'll grant that you're +a person in trouble, and that you're in some sort of telepathic contact +with me. Is there anything else you can tell me?" + +"I'm afraid not," the voice said, with infinite sadness. "You'll have to +find out for yourself." + +"Can you contact anyone else?" + +"No." + +"Then how can you talk with me?" + +"I don't know." + +Anders walked to his bureau mirror and adjusted his black bow tie, +whistling softly under his breath. Having just discovered that he was in +love, he wasn't going to let a little thing like a voice in his mind +disturb him. + +"I really don't see how I can be of any help," Anders said, brushing a +bit of lint from his jacket. "You don't know where you are, and there +don't seem to be any distinguishing landmarks. How am I to find you?" He +turned and looked around the room to see if he had forgotten anything. + +"I'll know when you're close," the voice said. "You were warm just +then." + +"Just then?" All he had done was look around the room. He did so again, +turning his head slowly. Then it happened. + +The room, from one angle, looked different. It was suddenly a mixture of +muddled colors, instead of the carefully blended pastel shades he had +selected. The lines of wall, floor and ceiling were strangely off +proportion, zigzag, unrelated. + +Then everything went back to normal. + +"You were _very_ warm," the voice said. "It's a question of seeing +things correctly." + +Anders resisted the urge to scratch his head, for fear of disarranging +his carefully combed hair. What he had seen wasn't so strange. Everyone +sees one or two things in his life that make him doubt his normality, +doubt sanity, doubt his very existence. For a moment the orderly +Universe is disarranged and the fabric of belief is ripped. + +But the moment passes. + +Anders remembered once, as a boy, awakening in his room in the middle of +the night. How strange everything had looked. Chairs, table, all out of +proportion, swollen in the dark. The ceiling pressing down, as in a +dream. + +But that had also passed. + +"Well, old man," he said, "if I get warm again, let me know." + +"I will," the voice in his head whispered. "I'm sure you'll find me." + +"I'm glad you're so sure," Anders said gaily, switched off the lights +and left. + + * * * * * + +Lovely and smiling, Judy greeted him at the door. Looking at her, Anders +sensed her knowledge of the moment. Had she felt the change in him, or +predicted it? Or was love making him grin like an idiot? + +"Would you like a before-party drink?" she asked. + +He nodded, and she led him across the room, to the improbable +green-and-yellow couch. Sitting down, Anders decided he would tell her +when she came back with the drink. No use in putting off the fatal +moment. A lemming in love, he told himself. + +"You're getting warm again," the voice said. + +He had almost forgotten his invisible friend. Or fiend, as the case +could well be. What would Judy say if she knew he was hearing voices? +Little things like that, he reminded himself, often break up the best of +romances. + +"Here," she said, handing him a drink. + +Still smiling, he noticed. The number two smile--to a prospective +suitor, provocative and understanding. It had been preceded, in +their relationship, by the number one nice-girl smile, the +don't-misunderstand-me smile, to be worn on all occasions, until +the correct words have been mumbled. + +"That's right," the voice said. "It's in how you look at things." + +Look at what? Anders glanced at Judy, annoyed at his thoughts. If he was +going to play the lover, let him play it. Even through the astigmatic +haze of love, he was able to appreciate her blue-gray eyes, her fine +skin (if one overlooked a tiny blemish on the left temple), her lips, +slightly reshaped by lipstick. + +"How did your classes go today?" she asked. + +Well, of course she'd ask that, Anders thought. Love is marking time. + +"All right," he said. "Teaching psychology to young apes--" + +"Oh, come now!" + +"Warmer," the voice said. + +What's the matter with me, Anders wondered. She really is a lovely girl. +The _gestalt_ that is Judy, a pattern of thoughts, expressions, +movements, making up the girl I-- + +I what? + +Love? + +Anders shifted his long body uncertainly on the couch. He didn't quite +understand how this train of thought had begun. It annoyed him. The +analytical young instructor was better off in the classroom. Couldn't +science wait until 9:10 in the morning? + +"I was thinking about you today," Judy said, and Anders knew that she +had sensed the change in his mood. + +"Do you see?" the voice asked him. "You're getting much better at it." + +"I don't see anything," Anders thought, but the voice was right. It was +as though he had a clear line of inspection into Judy's mind. Her +feelings were nakedly apparent to him, as meaningless as his room had +been in that flash of undistorted thought. + +"I really was thinking about you," she repeated. + +"Now look," the voice said. + +[Illustration] + + * * * * * + +Anders, watching the expressions on Judy's face, felt the strangeness +descend on him. He was back in the nightmare perception of that moment +in his room. This time it was as though he were watching a machine in a +laboratory. The object of this operation was the evocation and +preservation of a particular mood. The machine goes through a searching +process, invoking trains of ideas to achieve the desired end. + +"Oh, were you?" he asked, amazed at his new perspective. + +"Yes ... I wondered what you were doing at noon," the reactive machine +opposite him on the couch said, expanding its shapely chest slightly. + +"Good," the voice said, commending him for his perception. + +"Dreaming of you, of course," he said to the flesh-clad skeleton behind +the total _gestalt_ Judy. The flesh machine rearranged its limbs, +widened its mouth to denote pleasure. The mechanism searched through a +complex of fears, hopes, worries, through half-remembrances of analogous +situations, analogous solutions. + +And this was what he loved. Anders saw too clearly and hated himself for +seeing. Through his new nightmare perception, the absurdity of the +entire room struck him. + +"Were you really?" the articulating skeleton asked him. + +"You're coming closer," the voice whispered. + +To what? The personality? There was no such thing. There was no true +cohesion, no depth, nothing except a web of surface reactions, stretched +across automatic visceral movements. + +He was coming closer to the truth. + +"Sure," he said sourly. + +The machine stirred, searching for a response. + +Anders felt a quick tremor of fear at the sheer alien quality of his +viewpoint. His sense of formalism had been sloughed off, his agreed-upon +reactions bypassed. What would be revealed next? + +He was seeing clearly, he realized, as perhaps no man had ever seen +before. It was an oddly exhilarating thought. + +But could he still return to normality? + +"Can I get you a drink?" the reaction machine asked. + +At that moment Anders was as thoroughly out of love as a man could be. +Viewing one's intended as a depersonalized, sexless piece of machinery +is not especially conducive to love. But it is quite stimulating, +intellectually. + +Anders didn't want normality. A curtain was being raised and he wanted +to see behind it. What was it some Russian scientist--Ouspensky, wasn't +it--had said? + +"_Think in other categories._" + +That was what he was doing, and would continue to do. + +"Good-by," he said suddenly. + +The machine watched him, open-mouthed, as he walked out the door. +Delayed circuit reactions kept it silent until it heard the elevator +door close. + + * * * * * + +"You were very warm in there," the voice within his head whispered, once +he was on the street. "But you still don't understand everything." + +"Tell me, then," Anders said, marveling a little at his equanimity. In +an hour he had bridged the gap to a completely different viewpoint, yet +it seemed perfectly natural. + +"I can't," the voice said. "You must find it yourself." + +"Well, let's see now," Anders began. He looked around at the masses of +masonry, the convention of streets cutting through the architectural +piles. "Human life," he said, "is a series of conventions. When you look +at a girl, you're supposed to see--a pattern, not the underlying +formlessness." + +"That's true," the voice agreed, but with a shade of doubt. + +"Basically, there is no form. Man produces _gestalts_, and cuts form out +of the plethora of nothingness. It's like looking at a set of lines and +saying that they represent a figure. We look at a mass of material, +extract it from the background and say it's a man. But in truth there is +no such thing. There are only the humanizing features that +we--myopically--attach to it. Matter is conjoined, a matter of +viewpoint." + +"You're not seeing it now," said the voice. + +"Damn it," Anders said. He was certain that he was on the track of +something big, perhaps something ultimate. "Everyone's had the +experience. At some time in his life, everyone looks at a familiar +object and can't make any sense out of it. Momentarily, the _gestalt_ +fails, but the true moment of sight passes. The mind reverts to the +superimposed pattern. Normalcy continues." + +The voice was silent. Anders walked on, through the _gestalt_ city. + +"There's something else, isn't there?" Anders asked. + +"Yes." + +What could that be, he asked himself. Through clearing eyes, Anders +looked at the formality he had called his world. + +He wondered momentarily if he would have come to this if the voice +hadn't guided him. Yes, he decided after a few moments, it was +inevitable. + +But who was the voice? And what had he left out? + +"Let's see what a party looks like now," he said to the voice. + + * * * * * + +The party was a masquerade; the guests were all wearing their faces. To +Anders, their motives, individually and collectively, were painfully +apparent. Then his vision began to clear further. + +He saw that the people weren't truly individual. They were discontinuous +lumps of flesh sharing a common vocabulary, yet not even truly +discontinuous. + +The lumps of flesh were a part of the decoration of the room and almost +indistinguishable from it. They were one with the lights, which lent +their tiny vision. They were joined to the sounds they made, a few +feeble tones out of the great possibility of sound. They blended into +the walls. + +The kaleidoscopic view came so fast that Anders had trouble sorting his +new impressions. He knew now that these people existed only as patterns, +on the same basis as the sounds they made and the things they thought +they saw. + +_Gestalts_, sifted out of the vast, unbearable real world. + +"Where's Judy?" a discontinuous lump of flesh asked him. This particular +lump possessed enough nervous mannerisms to convince the other lumps of +his reality. He wore a loud tie as further evidence. + +"She's sick," Anders said. The flesh quivered into an instant sympathy. +Lines of formal mirth shifted to formal woe. + +"Hope it isn't anything serious," the vocal flesh remarked. + +"You're warmer," the voice said to Anders. + +Anders looked at the object in front of him. + +"She hasn't long to live," he stated. + +The flesh quivered. Stomach and intestines contracted in sympathetic +fear. Eyes distended, mouth quivered. + +The loud tie remained the same. + +"My God! You don't mean it!" + +"What are you?" Anders asked quietly. + +"What do you mean?" the indignant flesh attached to the tie demanded. +Serene within its reality, it gaped at Anders. Its mouth twitched, +undeniable proof that it was real and sufficient. "You're drunk," it +sneered. + +Anders laughed and left the party. + + * * * * * + +"There is still something you don't know," the voice said. "But you were +hot! I could feel you near me." + +"What are you?" Anders asked again. + +"I don't know," the voice admitted. "I am a person. I am I. I am +trapped." + +"So are we all," Anders said. He walked on asphalt, surrounded by heaps +of concrete, silicates, aluminum and iron alloys. Shapeless, meaningless +heaps that made up the _gestalt_ city. + +And then there were the imaginary lines of demarcation dividing city +from city, the artificial boundaries of water and land. + +All ridiculous. + +"Give me a dime for some coffee, mister?" something asked, a thing +indistinguishable from any other thing. + +"Old Bishop Berkeley would give a nonexistent dime to your nonexistent +presence," Anders said gaily. + +"I'm really in a bad way," the voice whined, and Anders perceived that +it was no more than a series of modulated vibrations. + +"Yes! Go on!" the voice commanded. + +"If you could spare me a quarter--" the vibrations said, with a deep +pretense at meaning. + +No, what was there behind the senseless patterns? Flesh, mass. What was +that? All made up of atoms. + +"I'm really hungry," the intricately arranged atoms muttered. + +All atoms. Conjoined. There were no true separations between atom and +atom. Flesh was stone, stone was light. Anders looked at the masses of +atoms that were pretending to solidity, meaning and reason. + +"Can't you help me?" a clump of atoms asked. But the clump was identical +with all the other atoms. Once you ignored the superimposed patterns, +you could see the atoms were random, scattered. + +"I don't believe in you," Anders said. + +The pile of atoms was gone. + +"Yes!" the voice cried. "Yes!" + +"I don't believe in any of it," Anders said. After all, what was an +atom? + +"Go on!" the voice shouted. "You're hot! Go on!" + +What was an atom? An empty space surrounded by an empty space. + +Absurd! + +"Then it's all false!" Anders said. And he was alone under the stars. + +"That's right!" the voice within his head screamed. "Nothing!" + +But stars, Anders thought. How can one believe-- + +The stars disappeared. Anders was in a gray nothingness, a void. There +was nothing around him except shapeless gray. + +Where was the voice? + +Gone. + +Anders perceived the delusion behind the grayness, and then there was +nothing at all. + +Complete nothingness, and himself within it. + + * * * * * + +Where was he? What did it mean? Anders' mind tried to add it up. + +Impossible. _That_ couldn't be true. + +Again the score was tabulated, but Anders' mind couldn't accept the +total. In desperation, the overloaded mind erased the figures, +eradicated the knowledge, erased itself. + +"Where am I?" + +In nothingness. Alone. + +Trapped. + +"Who am I?" + +A voice. + +The voice of Anders searched the nothingness, shouted, "Is there anyone +here?" + +No answer. + +But there was someone. All directions were the same, yet moving along +one he could make contact ... with someone. The voice of Anders reached +back to someone who could save him, perhaps. + +"Save me," the voice said to Anders, lying fully dressed on his bed, +except for his shoes and black bow tie. + + --ROBERT SHECKLEY + + + + +Transcriber's Note: + + This etext was produced from _Galaxy Science Fiction_ June 1953. + 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 Warm, by Robert Sheckley + +*** END OF THIS PROJECT GUTENBERG EBOOK WARM *** + +***** This file should be named 29509.txt or 29509.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/9/5/0/29509/ + +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. diff --git a/29509.zip b/29509.zip Binary files differnew file mode 100644 index 0000000..afa7a15 --- /dev/null +++ b/29509.zip diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..b03dcee --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #29509 (https://www.gutenberg.org/ebooks/29509) |
