The Chamber of Life by Green Peyton (phonics reader TXT) 📗

at first sight hard and brittle as metal sheets. The room was perfectly bare, and the color scheme a dull silver and black. To me it seemed extremely somber, but it pleased Edvar and his companion.

The first thing I noted when we sat down was the absence of any small articles—books or papers or lamps—and I remarked on this, somewhat rudely perhaps, to Edvar.

"Whatever you wish is accessible," he explained with a smile. He rose and went to the draped wall. Drawing back the folds of the curtains in several places, he showed the metal wall covered with dials and apparatus. I noted especially a small screen, like a motion picture screen. Later I was to find that it served not only for amusement, showing sound-pictures projected automatically from a central office, but also for news and for communication, like a telephone.

"Would you care for breakfast?" Edvar asked me. I accepted eagerly, and he manipulated some dials on the wall. A moment or two later a small section of the wall opened, and a tray appeared. Edvar placed it on the table by my chair.

"We have had our breakfast," he explained, and I began to eat[Pg 21] with a keener appetite than I thought I had. It was a simple meal with a slightly exotic flavor, but without any strange dishes. During the course of it, I asked Edvar questions.

"Your life is amazingly centralized," I said. "Apparently all the things you need are supplied at your rooms on a moment's notice."

"Yes," he smiled, "it makes life simpler. We have very few needs. Many of them are satisfied while we sleep, such as cleansing and, if we like, nourishment. We can study while we sleep, acquiring facts that we may want to use later from an instrument which acts upon the subconscious mind. These dials you see are mainly to give us pleasure. If we care to have our meals served in the old-fashioned way, as you are having yours, we can do so, but we reserve those meals for the occasions when we feel the need of eating as a pure sensation. We can have music at any time—" He paused. "Would you care for some music?"

"There's nothing I'd like better," I told him. He went to the wall and turned the dials again. In a moment the room was filled with the subdued sound of a cool, melancholy music—Grieg, or some other composer, with whom I was unfamiliar, exotic and reminiscent in mood, cool, and quiet with a touch of acutely sweet[Pg 22] pain. I listened to it in silence for a while. It was so subtle and pervasive, however, that it seemed to play directly upon the subconscious mind, so that the listener could go on thinking and talking uninterruptedly without losing any of the feeling of the melody.

"Have you no private possessions?" I asked. "Things that you share with no one? Your own books, your own music, your own jewelry, perhaps?"

"We have no need of them," he replied. After a moment's thought, he added, "We have our own emotions, and our own work—that's all. We do not care for jewels, or for decoration for its own sake. The things we use and see daily are beautiful in themselves, through their perfect utility and their outward symbolism of utility and creation. Our tools and our furniture are beautiful according to our own conceptions of beauty—as you can see." He made a gesture about the room.

"And who serves you with those meals, and the music, and the knowledge you learn in your sleep? Who does the work?"

"We all do the work. Each of us has his own work. Each of us is a craftsman and a creative artist. The real work is done by machine—our machines are the basic structure of our life. But we have men, highly trained and fitted temperamentally for their professions,[Pg 23] who watch and direct the machines. It is a matter of a few hours a day, devoted to fine problems in mechanics or building or invention. The rest of our time is our own, and the machines go on moving automatically as we have directed them to move. If every man on earth should die this morning, it would be perhaps fifty years or a century before the last machine stopped turning."

"And the rest of the time?"

It was Selda who answered this time. "We live. We devote ourselves to learning and creative thought. We study human relations, or we wander through the forests and the mountains, increasing the breadth and significance of our minds and emotions." Selda's voice, rising suddenly after her long silence, startled me, and I looked at her, disturbed again by some subtle attraction exercised over me by her body. We were silent a while, then I relapsed into my inner questionings, and turned to Edvar.

"You must live under a sort of socialistic system," I said thoughtfully. "Even a sort of communism?"

"In a sense. Rather it is an automatic life. The soul of the machine pervades us all, and the machines are beautiful. Our lives are logically and inevitably directed by environment and heredity[Pg 24] just as the machines are inevitably directed by their functions and capabilities. When a child is born, we know already what he will do throughout his life, how long he will live, what sort of children he will have, the woman he will marry. The Bureau could tell you at this moment when my great-grandson will be born, when he will die, and what his life will do for the State. There are never any accidents in our lives."

"But how did you develop so highly technical a civilization?" I asked.

"We came to it gradually from the last government system. It was called the phrenarchic system—the rule of the mind. It was neither democracy nor monarchy nor dictatorship. We found that we could tell the temperament and characteristics of a child from his early years, and we trained certain children for government. They were given power according to the qualities of their minds and according to the tasks for which they were fitted. We even bred them for governing. Later, when the machine began to usurp the place of labor all over the world and gave men freedom and peace and beauty, the task of government dwindled away little by little, and the phrenarchs turned gradually to other occupations."[Pg 25]

I learned innumerable details of that life from Edvar, and occasionally Selda would add some fact. They are not important now. It is the narrative which I must tell, not the details of a social system which, as I would discover later, was purely hypothetical.

The three of us spent the morning in conversation there, until the entrance of another man I had not seen before. He came in without knocking, but Edvar and Selda did not seem to be surprised. He was the representative of the Bureau.

"You are Baret?" he said, looking at me keenly.

"Yes," I replied.

"I have been directed to tell you that your visit here is temporary, and that you will be returned to your previous life at the end of a certain period of time which we have not yet calculated precisely. You have been registered with the Bureau, and you are free to come and go as you see fit, but you are not to interfere with anything you see. You are an observer. You will be expected to comply with our methods of living as Edvar or Selda will explain them to you."

With a slight bow, he turned to go. But I detained him.

"Wait," I said. "Can you tell me who I am, and where I've come from?"

"We are not yet certain. Our[Pg 26] knowledge of you has come to us in an unusual manner, through a series of new experiments now being conducted at the Bureau. If possible, we will explain them to you later. In any case you may be assured that your absence from your usual life will not cause you any harm, and that you will return after a definite time. Rest here, and keep your mind at peace. You will be safe."

Then he turned and left. I was puzzled for a while, but I forgot that shortly in the strangeness and wonder of the life I was living in a strange world....

And the lake? Melbourne?

The Grieg nocturne came to an end. I frowned as I set down my razor, and went into the living room to change the record. Conflicting memories ... where did they meet? On the one hand was the awakening in the cold waters of the lake—only an hour or less than an hour ago. And there was Melbourne, and the strange conversation at the Club. Finally there was this amazing and isolated recollection, like a passage from a dream.

Suddenly, as I went back to my bath and plunged into the cool water, my mind returned to Melbourne. I had been walking home with him that night from the Club—perhaps last night. We had gone on a while in silence, both of us thinking. Then we had[Pg 27] come to the Drive. At that moment Melbourne had said something—what was it?

He had said, "Tell me, Mr. Barrett, would you care to see that dream of yours come true?"

The Chamber of Life

I didn't know what Melbourne meant, and I looked at him inquiringly.

He explained: "I have in my home a model—or rather a complete test-apparatus. It was finished only a few days ago. I have been postponing my trial of it from day to day, afraid that it might be a failure—although, of course, it can't be. I have verified my work dozens of times, step by step.

"If you care to see it, I should be glad to have you come with me. Now that I have reached the end of my search, I need someone to share my triumph with me." I glanced at him eagerly, but hardly understanding that his offer was serious.

"But, Mr. Melbourne," I said, "why have you chosen me—a man you've only met this evening?" He smiled.

"I am a lonely man, almost a recluse, Mr. Barrett," he answered. "I have many friends in many countries—but no intimates. It is the penalty of a man's devotion to one single and absorbing task. And, too, I think[Pg 28] you share a little of my interest in this particular task."

"I do, sir! It has fascinated me," I said.

"Then come along. I shall soon be an old man, and I will need someone to carry on this work as I should carry it on. Perhaps you will be that man."

A taxi was coming up the Drive at that moment. Melbourne hailed it, and held the door for me to enter. Then he gave the driver an address which I didn't hear, and climbed in after me.

"This will be quicker," he said. "After all, I am more excited about it myself than I should care to admit."

As we turned and went on up the Drive, he told me more about his invention.

"I call it the Chamber of Life," he said. "It's a fantastic name, but it designates precisely what my instrument is.

"You see, it's like living another life to experience an hour or two in the Chamber. You cannot possibly realize yet just what it's like. I have created a means of reproducing all the sensations that a man would have in actual living; all the sounds, the odors, the little feelings that are half-realized in daily life—everything. The Chamber takes possession of you and lives for you. You forget your name, your very existence in this world, and you are taken bodily into a fictitious land. It is[Pg 29] like actually living the books you would read today, or the motion pictures and plays you would watch and hear.

"It is as real as life, but it moves swiftly as a dream. You seem to pass through certain things slowly and completely, in the tempo of life. Then, when the transitional moment comes, between the scenes, your sensations pass with unbelievable rapidity. The Chamber has possession of your mind. It tells you that you are doing such and such a thing, it gives you all the feeling of doing that thing, and you actually believe you are doing it. And when it snatches you away from one day and takes you into the next, it has only to make you feel that a day has passed, and it is as though you had lived through that day. You could live a lifetime in this way, in the Chamber, without spending actually more than