Difference between revisions of "Nicholson (Capricorn Games)"

Latest revision as of 06:54, 3 April 2016

Nicholson is a character in Capricorn Games, a short story by Robert Silverberg.

Excerpts

[The] true guest of honor, the evening's prize, the real birthday boy, the lion of the season-the celebrated Nicholson, who had lived a thousand years and who said he could help others to do the same."

He was slender, supple, not tall, strong in the shoulders. A man of presence and authority. She wanted to put her lips to him and suck immortality out. His head was a flat triangle, brutal cheekbones, thin lips, dark mat of curly hair, no beard, no mustache. His eyes were keen, electric, intolerably wise. He must have seen everything twice, at the very least. Nikki had read his book. Everyone had. He had been a king, a lama, a slave trader, a slave. Always taking pains to conceal his implausible longevity, now offering his terrible secret freely to the members of the Book-of-the-Month Club. Why had he chosen to surface and reveal himself? Because this is the necessary moment of revelation, he had said. When he must stand forth as what he is, so that he might impart his gift to others, lest he lose it. Lest he lose it. At the stroke of the new century he must share his prize of life. A dozen people surrounded him, catching his glow.

"... the figure of the mandala," Nicholson was saying. His voice was dark, focused, a pure basso cantante. "The essential thing that every mandala has is a center-the place where everything is born, the eye of God's mind, the heart of darkness and of light, the core of the storm. All right. You must move toward the center, find the vortex at the boundary of Yang and Yin, place yourself right at the mandala's midpoint. Center yourself. Do you follow the metaphor? Center yourself at now, the eternal now. To move off-center is to move forward toward death, backward toward birth, always the fatal polar swings. But if you're capable of positioning yourself constantly at the focus of the mandala, right on center, you have access to the fountain of renewal, you become an organism capable of constant self-healing, constant self-replenishment, constant expansion into regions beyond self. Do you follow? The power of ... "

Nicholson abruptly detached himself from the circle of his audience and strode across the room, alone, in a quick decisive knight's move toward the bar.

(In this next scene, the protagonist, Nikki, is experiencing telepathic contact with Nicholson's soul.)

The object within her was the consciousness of Nicholson. In wonder she explored its surface, rigid and weathered, pitted with the myriad ablations of reentry. Ran her trembling hands over its bronzy roughness. Remained outside it. Tom, the mind reader, gave her a nudge. Go on, go on. Deeper. Don't hold back. She folded herself around Nicholson and drifted into him like ectoplasm seeping into sand. Suddenly she lost her bearings. The discrete and impermeable boundary marking the end of her self and the beginning of his became indistinct. It was impossible to distinguish between her experiences and his, nor could she separate the pulsations of her nervous system from the impulses traveling along his. Phantom memories assailed and engulfed her. She was transformed into a node of pure perception: a steady, cool, isolated eye, surveying and recording. Images flashed. She was toiling upward along a dazzling snowy crest, with jagged Himalayan fangs hanging above her in the white sky and a warm-muzzled yak snuffling wearily at her side.

A platoon of swarthy little men accompanied her, slanty eyes, heavy coats, thick boots. The stink of rancid butter, the cutting edge of an impossible wind: and there, gleaming in the sudden sunlight, a pile of fire-bright yellow plaster with a thousand winking windows, a building, a lamasery strung along a mountain ridge. The nasal sound of distant horns and trumpets. The hoarse chanting of lotus-legged monks. What were they chanting? Om? Om? Om! Om, and flies buzzed around her nose, and she lay hunkered in a flimsy canoe, coursing silently down a midnight river in the heart of Africa, drowning in humidity. Brawny naked men with purple-black skins crouching close. Sweaty fronds dangling from flamboyantly excessive shrubbery; the snouts of crocodiles rising out of the dark water like toothy flowers; great nauseating orchids blossoming high in the smooth-shanked trees. And on shore, five white men in Elizabethan costume, wide-brimmed hats, drooping sweaty collars, lace, fancy buckles, curling red beards. Errol Flynn as Sir Francis Drake, blunderbuss dangling in crook of arm. The white men laughing, beckoning, shouting to the men in the canoe. Am I slave or slavemaster? No answer. Only a blurring and a new vision: autumn leaves blowing across the open doorways of straw-thatched huts, shivering oxen crouched in bare stubble-strewn fields, grim long-mustachioed men with close-cropped hair riding diagonal courses toward the horizon. Crusaders, are they? Or warriors of Hungary on their way to meet the dread Mongols? Defenders of the imperiled Anglo-Saxon realm against the Norman invaders? They could be any of these. But always that steady cool eye, always that unmoving consciousness at the center of every scene. Him, eternal, all-enduring. And then: the train rolling westward, belching white smoke, the plains unrolling infinityward, the big brown fierce-eyed bison standing in shaggy clumps along the right of way, the man with turbulent shoulder-length hair laughing, slapping a twenty-dollar gold piece on the table. Picking up his rifle-a.50-caliber breech-loading Springfield-he aims casually through the door of the moving train, he squeezes off a shot, another, another. Three shaggy brown corpses beside the tracks, and the train rolls onward, honking raucously.

Her arm and shoulder tingled with the impact of those shots. Then: a fetid waterfront, bales of cloves and peppers and cinnamon, small brown-skinned men in turbans and loincloths arguing under a terrible sun. Tiny irregular silver coins glittering in the palm of her hand. The jabber of some Malabar dialect counterpointed with fluid mocking Portuguese. Do we sail now with Vasco da Gama? Perhaps. And then a gray Teutonic street, windswept, medieval, bleak Lutheran faces scowling from leaded windows. And then the Gobi steppe, with horsemen and campfires and dark tents. And then New York City, unmistakably New York City, with square black automobiles scurrying between the stubby skyscrapers like glossy beetles, a scene out of some silent movie. And then. And then. Everywhere, everything, all times, all places, a discontinuous flow of events but always that clarity of vision, that rock-steady perception, that solid mind at the center, that unshakeable identity, that unchanging self-with whom I am inextricably enmeshed-

There was no "I," there was no "he," there was only the one ever-perceiving point of view. But abruptly she felt a change of focus, a distancing effect, a separation of self and self, so that she was looking at him as he lived his many lives, seeing him from the outside, seeing him plainly changing identities as others might change clothing, growing beards and mustaches, shaving them, cropping his hair, letting his hair grow, adopting new fashions, learning languages, forging documents. She saw him in all his thousand years of guises and subterfuges, saw him real and unified and centered beneath his obligatory camouflages-and saw him seeing her.

Instantly contact broke. She staggered. Arms caught her. She pulled away from the smiling plump-faced blond man, muttering, "What have you done? You didn't tell me you'd show me to him."

"How else can there be a linkage?" the telepath asked.

See also

• Capricorn Games
• Circle
• Knight's move
• Silverberg, Robert