Engineman Part 45

The crowd around the table, swelled now by a party that had drifted up from the lawns below, watched the two men with the hushed antic.i.p.ation of spectators at a duel.

"Why not?" Bartholomew asked. "Although I disagree in principle with the idea of the contest, I see no reason why I should not benefit by winning it."

Ralph laughed. "Your optimism amazes me, sir."

Bartholomew inclined his head in gracious acknowledgement.

The resident physician, a man called Roberts, asked the artist if he would be willing to discuss his latest creation.

"By all means," Bartholomew said. "It is perhaps my finest accomplishment, and has also the distinction of being totally original in form." Just when he was becoming interesting, if pompous, he d.a.m.ned himself by continuing, "It should make me millions - which might just satisfy the demands of my wife."

There was a round of polite laughter.

Ralph exchanged a glance with me and shook his head, despairing.

Perry Bartholomew's separation from his wife, also an artist of international repute, had made big news a couple of years ago. Their ten year marriage had been a constant feature in the gossip columns, fraught as it was with acrimony and recriminations before the final split. He had, it was reported, taken it badly - even an arch-cynic like Bartholomew had a heart which could be hurt - unless it was his ego that had suffered. For a year he had lived as a recluse, emerging only when he moved to the Oasis for an extended period of work.

Tonight Bartholomew looked far from well. He was a handsome man in his early fifties, with a tanned face and dark hair greying fas.h.i.+onably at the temples - but now he looked drawn, his dark eyes tired.

Someone asked, "You said, 'totally original in form'?" in a tone of incredulity which prompted a sharp response.

"Of course!" Bartholomew stared at the woman. "I am aware that this is a bold claim to make, but it is nevertheless true, as you will learn when I exhibit the piece. I have utilised a prototype continuum-frame to harness an electro-a.n.a.logue of my psyche."

There was an instant babble of comment. A critic said, "Can we have that again?" and scribbled it down when Bartholomew patiently repeated himself.

"But what exactly is it?" someone asked.

Bartholomew held up both hands. "You will find out tomorrow. I a.s.sure you that its originality of form will be more than matched by its content."

Roberts, from where he was leaning against the bal.u.s.trade, asked, "I take it that this is an example of a work of art which you would contend is worth a human life?" He smiled to himself with the knowledge of what he was doing.

Bartholomew calculated his response. He was aware that all eyes were on him, aware that his reply would re-open the old argument between him and Ralph Standish - which was exactly what the onlookers were antic.i.p.ating.

Bartholomew gave the slightest of nods. "Yes, Doctor. In my opinion my latest piece is of sufficient merit to be worth the sacrifice."

Ralph Standish frowned into his whisky, his lips pursed grimly. Bartholomew had made a similar declaration in the pages of a respected arts journal a couple of years ago, and Ralph had responded with a series of angry letters.

I willed him not to reply now, convinced that he would only be playing Bartholomew's childish game if he did so. But all eyes were on him, and he could not let the comment pa.s.s.

"Your views sicken me, Perry - but you know that. We've had this out many times before. I see no need to cover old ground."

"But why ever not, my friend? Surely you are able to defend your corner, or perhaps you fear losing the argument?"

Ralph made a sound that was part laugh, part grunt of indignation. "Losing it? I thought I'd won it years ago!"

Bartholomew smiled. "You merely stated your case with precision and eloquence, if I may say so. But you signally failed to convince me. Therefore you cannot claim victory."

Ralph was shaking his head. "What will it take to convince you that your philosophy is morally objectionable?"

"My dear Ralph, I might ask you the very same question." Perry Bartholomew smiled. He was enjoying himself. "So far as I am concerned, I occupy the moral high ground-"

"I cannot accept that art is more important that humanity," Ralph began.

"You," Bartholomew cut in, "are a traitor to your art."

"And you, a traitor to humanity."

"Ralph, Ralph," Bartholomew laughed, condescending. "I consider my view the height of humanity. I merely contend that a supreme work of art, which will bring insight and enlightenment to generations, is worth the life of some peasant in Asia or wherever. What was that old moral dilemma? 'Would you wish dead one Chinaman if by doing so you would gain unlimited wealth?' Well, in this case the unlimited wealth is in the form of a work of art for all humanity to appreciate in perpetuity."

Ralph was shaking his head. "I disagree," he said. "But why don't we throw the question open? What do you think? Anyone? Richard?"

I cleared my throat, nervous. I looked across at Bartholomew. "I side with Ralph," I said. "I also think your example of 'one Asian peasant' is spurious and misleading."

Bartholomew threw back his head and laughed. "Oh, you do, do you? But what should I expect from one of Ralph's disciples?"

"That's unfair, Perry," Ralph cut in. "Richard has a valid point."

"Perhaps," I said, "you might be less willing to expend a human life if that life was one closer to home. Your own, for instance?"

Bartholomew regarded me with startlingly blue eyes, unflinching. "I state categorically that my life is worth nothing beside the existence of a truly fine work of art."

"That," Ralph said, taking over the argument, "is letting Perry off the hook too easily." He swirled the contents of his tumbler, regarding Bartholomew across the table. "Would you be as willing to lay down the life of someone you loved?"

I was suddenly aware of a charged silence on the patio.

Everyone was watching Perry Bartholomew as he considered his wine gla.s.s, a slight smile of amus.e.m.e.nt playing on his lips. "Perhaps we should first of all conduct a semantic a.n.a.lysis of what you mean by the word 'love'?"

Ralph was red in the face by now. "You know d.a.m.n well what I mean. But to counter your cynicism, I'll rephrase the question: would you lay down the life of someone close to you for a work of art?"

Bartholomew thought about this, a consummate performer playing the cynosure. "Would I?" he said at last. "That is a very interesting question. If I were to be true to my ideals, then by all means I should. Perhaps though, in my weakness, I would not..." He paused there, and I thought we had him. Then he continued, "But if I did not, if I chose the life of someone close to me over the existence of a work of art - then I would be morally wrong in doing so, prey to temporary and sentimental aberration."

Ralph ma.s.saged his eyes with thumb and forefinger in a weary gesture of despair. He looked up suddenly. "I pity you, Perry. I really do. Don't you realise, it's the thing that you call the 'sentimental aberration' that is at the very heart of each of us - that thing called love, which you claim not to know?"

Bartholomew merely stared at him, that superior smile on his lips. "I think we should have that semantic debate, after all."

"You can't apply your reductionist sciences to human emotion, d.a.m.n you!"

"I think perhaps I could, and disprove for good the notion of love."

"You don't convince me, Perry - for all your cynicism." Ralph got to his feet. "But I can see that I'm wasting my time. If you'll excuse me, I'll bid you good night." He nodded at Bartholomew and left the patio with a quiet dignity that won the respect of everyone present.

Bartholomew gave a listless wave and watched him go, a twist of sardonic amus.e.m.e.nt in his expression. "Romantics!" he said with venom when Ralph was out of earshot.

The party broke up soon after that and I retired to my dome.

I woke late the following morning, breakfasted on the balcony of my dome overlooking the lawns, and then strolled around the oasis towards Ralph's dome. A couple of days earlier I'd finished the sculpture I had been working on, and I was still in that phase of contented self-satisfaction which follows creation.

I was pa.s.sing beneath the pendant globe of Perry Bartholomew's dome when I heard his summons.

"Ah, Richard... Just the man. Do you think I might borrow your body for a minute or two?" He was leaning from an upper balcony, attired in a green silk dressing gown. "I require a little a.s.sistance in moving my exhibit."

After his arrogance last night, I was tempted to ignore him. The Oasis had attendants to do the manual labour, but at the moment they were busy with other artists' work on the concourse beside the water, ready for the judging of the compet.i.tion tomorrow. I was about to call up to him that he'd have to wait until the attendants were free, when I recalled his overblown claims concerning his latest work of art. My curiosity was piqued.

"I'll be right up," I said.

I pa.s.sed beneath the globe and entered the escalator shaft which carried me up to the central lounge. The door slid open and I paused on the threshold. "Enter, dear boy," Bartholomew called from another room. "I'm dressing. I'll be with you in a minute."

I stepped into a large, circular room covered with a luxurious, cream carpet more like a pelt, and equipped with sunken sofa-bunkers. Several of Bartholomew's abstract sculptures occupied prominent positions - hard, angular designs in grey metals, striking in their ugliness.

Bartholomew emerged on the far side of the room. "Good of you to help me, dear boy. The attendants are never around when one needs them."

He wore a white suit with a pink cravat, and seen at close quarters I was struck by how seedy, how ill the man appeared. He liked to project an image of foppish sophistication, but such a display from someone so evidently unwell seemed merely pathetic.

"I hope Ralph hasn't taken the huff over our disagreement last night?"

"I don't know," I said. "I haven't seen him today."

Bartholomew chuckled. "The man is a silly old goat," he said. "When will he learn?"

I was stung. I was about to respond that Ralph was a fine artist and a good man, then paused. "Learn what?" I asked, suspicious.

Bartholomew crossed to a pedestal arrayed with bottles and gla.s.ses. "Would you care for a drink, Richard?"

I told him that it was a little too early for me, frustrated by his calculated reticence. He was clearly playing another of his infuriating mind games. He poured himself a large brandy, turned and considered me.

"Learn," he said, "not to take so seriously my little digs. Our differences of opinion hardly matter."

"They matter to Ralph," I said. "He objects strongly to your philosophy. What should he do? Sit back and let your comments go unopposed?"

"But my dear boy, don't you think that I object to his philosophy? I a.s.sure you, I find his sentimentality just as sickening as he evidently finds my... my realism." He sighed. "It's a pity we can't still be friends. We were once very close, you know?"

I hesitated. Ralph rarely spoke of his friends.h.i.+p with Bartholomew. "What happened?"

"Oh, we encountered different circ.u.mstances, experienced divergent phenomena, and adopted our own philosophies to deal with them. Ralph was always an idealist, a romantic at heart. I was a realist, and the more I experienced, the more I came to see that my view of the world was the right one. Ralph has always had it too easy." He shrugged. "We've reached the stage now where our respective views are irreconcilable. I think he's a woolly-minded bleeding heart, and he no doubt thinks me a hard-nosed neo-fascist. But you know this - you probably think of me in the same way." He smiled, challengingly, across at me.

I murmured something to the contrary and avoided his gaze, wis.h.i.+ng I had the strength to tell him what I really thought.

While he was speaking, I noticed a holo-cube on a polished wooden table in the centre of the room. It was large, perhaps half a metre square, and depicted a brown-limbed little girl in a bright blue dress, with ma.s.ses of black hair and big eyes of l.u.s.trous obsidian. The contradiction between Bartholomew's ideals, and the display of such a romantic work of art, was not lost on me.

I crossed the room and paused beside the table. "It's quite beautiful," I said.

"I'm glad you like it. She is my daughter, Elegy."

"Your daughter?" I was taken aback, surprised first of all that he had a daughter, and then that he should choose to display her image in a holo-cube for all to see.

"The child," he said, "is incredibly intelligent. Precocious, in fact. She will go far." And, with that, any notion that Bartholomew had succ.u.mbed to paternal sentiment was erased. For him, the holo-cube of his daughter was merely a reminder of her intelligence quotient.

"She celebrates her eighth birthday tomorrow," he went on. "She is visiting me directly from her boarding school in Rome. You'll be able to debate world affairs with her, Richard."

I ignored the sarcasm. "I look forward to meeting her."

Bartholomew smiled. "But come, I'm keeping you. Please, this way."

We took a spiral staircase down to his studio. I recalled that he had described his work last night as utilising a continuum-frame, and I wondered what to expect. The large, circular chamber was filled with sunlight and the machinery of his art: large power tools, computers, slabs of steel and other raw materials.

He gestured across the room to his latest creation, standing against the far wall. It was a heavy, industrial-looking metal frame, hexagonal and perhaps three metres high - for all the world like the nut of a giant nut and bolt. It was not the dull, rusting frame, however, that was the work of art, but what the frame contained: an eerie, cobalt glow, shot through with white light, like fireworks exploding in slow motion. As I stared at it I convinced myself that I could make out vague shapes and forms, human figures and faces, surfacing from within the glow. But the images never remained long enough, or appeared with sufficient definition, for me to be sure. I might merely have been imagining the forms. The piece did, however, fill me with unease.

"The frame is an early prototype of the Keilor-Vincicoff interface," Bartholomew said. "I bought it for an absolute fortune when I realised it could be put to artistic use. What you see at its centre is a section of the nada nada-continuum, the timeless, s.p.a.celess form that underpins reality. Enginemen posit that the nada nada-continuum is Nirvana." He laughed. "I contend that it is nothing but a blank canvas, if you like, upon which we can project the contents of our psyches."

He indicated a computer keyboard set into the frame. "I programmed it directly from here-" tapping his head "-and it was the gruelling work of almost a year. It is totally original in form and content, and well worth the agony of creation."

"Is it t.i.tled?" I asked.

Bartholomew nodded. "Experience," he said.

I looked from what might have been a woman's face, screaming in terror, to the artist. "I'm impressed," I said.

He barked a laugh. "You Romantics! Unlike your work, this is not merely visual. It was created with the express intention of being partic.i.p.ated in. Go ahead, pa.s.s through."

I stared again into its pulsing cobalt depths, veined with coruscating light, and stepped onto the plinth.

I glanced back at Bartholomew. "Are you quite sure?"

"Of course, my dear boy! Don't be afraid. I'll follow you in, if you wish."

I nodded uncertainly, wondering if I was doing the right thing. With reluctance, and not a little fear, I took one hesitant pace into the blue light. I was immediately enveloped in the glow, and without points of reference to guide my senses I experienced instant disorientation and nausea. I felt as though I were weightless and spinning out of control, head over heel.

More disconcerting than the physical discomfort, however, was the psychological. Whereas seen from outside the images in the glow were fleeting, nebulous, now they a.s.sailed me, or rather appeared in my mind's eye, full-blown and frightening. I beheld human forms bent and twisted in horrifying torques of torture - limbs elasticating to breaking-point, torsos wound like springs of flesh, faces stretched into caricatures of agony. These depredations were merely the physical counterpart of a prevailing mental anguish which permeated, at Bartholomew's perverted behest, this nightmare continuum. And beyond this, as the intellectual sub-text to the work of art, there invaded my head the ethos that humanity is driven by the subconscious devil of rapacity, power and reward - to the total exclusion of the attributes of selflessness, altruism and love.

Then, one pace later - though I seemed to have suffered the nightmare for hours - I was out of the frame and in the blessed sanity of the real world. As the horror of the experience gradually diminished, I took in my surroundings. I had a.s.sumed I would come out in the narrow gap between the frame and the wall - but to my amazement I found myself in the adjacent room. I turned and stared. Projecting from the wall - through which I had pa.s.sed - was a horizontal column of blue light, extending perhaps halfway into the room. As I watched, Bartholomew stepped from the glowing bar of light - the artist emerging emerging from his work - and smiled at me. "Well, Richard, what do you think?" He regarded me intently, a torturer's gleam in his eye. from his work - and smiled at me. "Well, Richard, what do you think?" He regarded me intently, a torturer's gleam in his eye.

To my shame I said, "It's incredible," when I should have had the courage to say, "If that's the state of your psyche, then I pity you." I only hoped that the agony I had experienced within the frame was a partial, or exaggerated, reflection of Bartholomew's state of mind.

"The depth of the beam can be increased from one metre to around fifteen. The devices are still used in s.h.i.+pyards and factories to transport heavy goods over short distances. I'll show you..." He stepped through the frame into the next room, and while he was gone I marvelled at how he could prattle on so matter-of-factly about the mechanics of something so monstrous.

Then I reminded myself that Bartholomew believed he had created here a work of lasting art.

Before me, the beam extended even further into the room, almost touching the far wall. Then it decreased in length to just one metre. He shortened it even further and, as if by magic, the wall suddenly appeared.

I returned to the studio, walking through the door this time rather than taking the malignant shortcut through the frame.

"We'll leave it at its original setting," Bartholomew said. "It's easier to move that way."

For the next thirty minutes we edged the frame onto a wheeled trolley and rolled it into the elevator. "We must handle it with the utmost care!" Bartholomew warned. "I know through bitter experience that the slightest jolt might eliminate the imprinted a.n.a.logues. The aspects of my psyche programmed within it exist tremulously. If we should drop it now..."

We emerged into the sunlight, and I had never been so thankful to experience fresh air. We gingerly trolleyed the great frame along a tiled path to the concourse, Bartholomew flinching at the slightest jolt or wobble on the way. Part of me wanted nothing more than to topple the frame, but the moralist in me - or the coward - overruled the urge. At journey's end a couple of attendants helped us ease the frame to the ground. "Careful!" Bartholomew shouted. "It should be treated with the greatest respect. The slightest mishandling..."

By now, word was out that Perry Bartholomew was exhibiting his magnum opus, and a crowd had gathered before the frame like supplicants at the portals of a cathedral.