The Best From Fantasy & Science Fiction Part 1

The Best from Fantasy & Science Fiction.

edited by Edward Ferman.

INTRODUCTION.

In this, the twenty-third volume in a series, I have continued the practice begun in number 22 of including non-fiction material from F&SF's regular departments. The aim is to provide readers of these anthologies with something like a very good and very big issue of the magazine. Thus we offer a fascinating article by Joanna Russ on the pain of reviewing sf books, Baird Searles on "multiples" in sf films, Isaac Asimov on cloning, and a sampling from our compet.i.tions.

The stories in this book cover the period from our November 1976 issue through the middle of 1979, a period of great growth in the science fiction field, at least in terms of numbers. If you're the sort who likes to sniff the air for trends, you may have detected a smell of old attics, as much sf seemed to swing back to traditional, even old-fas.h.i.+oned themes and forms. Compare 2001 to Star Wars.

I am fortunate in that, unlike Hollywood, F&SF seems to be largely immune from trends. The magazine has a reputation for offering variety, and to uphold that image, it seems to me that it must carefully avoid trends and formulas in an effort to publish a balance of different types of fantasy and sf.

And so we continue to look for good writing and fresh ideas and entertaining narratives, and once those general criteria are satisfied, we take on whatever seems to be pleasing our writers at the time. That's the best way I know of pleasing our leaders.

-Edward L. Ferman.

"I See You" is the first new Damon Knight story in many yean; it was the feature story in FASF's special Damon Knight issue (November 1976). As might be expected, it is a totally fresh piece of work and it s.h.i.+nes with quality. Damon says of it: "You may think it is a short story, but it is really a novel on the plan of A for Anything and h.e.l.l's Pavement, only much compressed.

I See You

DAMON KNIGHT.

You are five, hiding in a place only you know. You are covered with bark dust, scratched by twigs, sweaty and hot. A wind sighs in the aspen leaves. A faint steady hiss comes from the viewer you hold in your hands; then a voice: "Lone, I see you-under the bam, eating an apple!" A silence. "Lone, come on out, I see you." Another voice. "That's right, she's in there." After a moment, sulkily: "Oh, okay."

You squirm around, raising the viewer to aim it down the hill. As you turn the k.n.o.b with your thumb, the bright image races toward you, trees hurling themselves into red darkness and vanis.h.i.+ng, then the houses in the compound, and now you see Bruce standing beside the corral, looking into his viewer, slowly turning. His back is to you; you know you are safe, and you sit up. A jay pa.s.ses with a whir of wings, settles on a branch. With your own eyes now you can see Bruce, only a dot of blue beyond the gray shake walls of the houses. In the viewer, he is turning toward you, and you duck again. Another voice: "Children, come in and get washed for dinner now."

"Aw, Aunt Ellie!"

"Mom, we're playing hide and seek. Can't we just stay fifteen minutes more?" "Please, Aunt Ellie!"

"No, come on in now-you'll have plenty of time after dinner."

And Brace: "Aw, okay. All cut's in free." And once more they have not found you; your secret place is yours alone.

Call him Smith. He was the president of a company that bore his name and which held more than a hundred patents in the scientific instrument field. He was sixty, a widower. His only daughter and her husband had been killed in a plane crash in 1978. He had a partner who handled the business operations now; Smith spent most of his time in his own lab. In the spring of 1990 he was working on an image-intensification device that was puzzling because it was too good. He had it on his bench now, aimed at a deep shadow box across the room; at the back of the box was a card ruled with black, green, red and blue lines. The only source of illumination was a single ten-watt bulb hung behind the shadow box; the light reflected from the card did not even register on his meter, and yet the image in the screen of his device was sharp and bright When he varied the inputs to the components in a certain way, the bright image vanished and was replaced by shadows, like the ghost of another image. He had monitored every television channel, had s.h.i.+elded the device against radio frequencies, and the ghosts remained. Increasing the illumination did not make them clearer. They were vaguely rectilinear shapes without any coherent pattern. Occasionally a moving blur traveled slowly across them.

Smith made a disgusted sound. He opened the clamps that held the device and picked it up, reaching for the power switch with his other hand. He never touched it. As he moved the device, the ghost images had s.h.i.+fted; they were dancing now with the faint movements of his hand. Smith stared at them without breathing for a moment. Holding the cord, he turned slowly. The ghost images whirled, vanished, reappeared. He turned the other way; they whirled back.

Smith set the device down on the bench with care. His hands were shaking. He had had the thing clamped down on the bench all the time until now. "Christ almighty, how dumb can one man get?" he asked the empty room.

You are six, almost seven, and you are being allowed to use the big viewer for the first time. You are perched on a cus.h.i.+on in the leather chair at the console; your brother, who has been showing you the controls with a bored and superior air, has just left the room, saying, "All right, if you know so much, do it yourself."

In fact, the controls on this machine are unfamiliar, the little viewers you have used all your life have only one k.n.o.b, for nearer or farther-to move up/down, or left/right, you just point the viewer where you want to see. This machine has dials and little windows with numbers in them, and switches and pushb.u.t.tons, most of which you don't understand, but you know they are for special purposes and don't matter. The main control is a metal rod, right in front of you, with a gray plastic k.n.o.b on the top. The k.n.o.b is dull from years of handling; it feels warm and a little greasy in your hand. The console has a funny electric smell, but the big screen, taller than you are, is silent and dark. You can feel your heart beating against your breastbone. You grip the k.n.o.b harder, push it forward just a little. The screen lights, and you are drifting across the next room as if on huge silent wheels, chairs and end tables turning into reddish silhouettes that shrink, twist and disappear as you pa.s.s through them, and for a moment you feel dizzy because when you notice the red numbers jumping in the console to your left, it is as if the whole house were pa.s.sing ma.s.sively and vertiginously through itself; then yon are floating out the window with the same slow and steady motion, on across the sunlit pasture where two saddle horses stand with their heads up, sniffing the wind; then a stubbled field, dropping away; and now, below you, the co-op road s.h.i.+nes like a silver-gray stream. Yon press the k.n.o.b down to get closer, and drop with a giddy swoop; now you are rus.h.i.+ng along the road, overtaking and pa.s.sing a yellow truck, turning the k.n.o.b to steer. At first you blunder into the dark trees on either side, and once the earth surges up over you in a chaos of writhing red shapes, but now you are learning, and you soar down past the crossroads, up the farther hill, and now, now you are on the big road, flying eastward, pa.s.sing all the cars, rus.h.i.+ng toward the great world where you long to be.

It took Smith six weeks to increase the efficiency of the image intensifier enough to bring up the ghost pictures clearly. When he succeeded, the image on the screen was instantly recognizable. It was a viewof Jack McCranie's office; the picture was still dim, but sharp enough that Smith could see the expression on Jack's face. He was leaning back in his chair, hands behind his head. Beside him stood Peg Spatola in a purple dress, with her hand on an open folder. She was talking, and McCranie was listening. That was wrong, because Peg was not supposed to be back from Cleveland until next week.

Smith reached for the phone and punched McCranie's number.

"Yes, Tom?"

"Jack, is Peg in there?"

"Why, no-she's in Cleveland, Tom."

"Oh, yes."

McCranie sounded puzzled. "Is anything the matter?" In the screen, he had swiveled his chair and was talking to Peg, gesturing with short, choppy motions of his arm.

"No, nothing," said Smith. "That's all right, Jack, thank you." He broke the connection. After a moment he turned to the breadboard controls of the device and changed one setting slightly. In the screen, Peg turned and walked backward out of the office. When he turned the k.n.o.b the other way, she repeated these actions in reverse. Smith tinkered with the other controls until he got a view of the calendar on Jack's desk. It was Friday, June 15-last week.

Smith locked up the device and all his notes, went home and spent the rest of the day thinking.

By the end of July he had refined and miniaturized the device and had extended its sensitivity range into the infrared. He spent most of August, when he should have been on vacation, trying various methods of detecting sound through the device. By focusing on the interior of a speaker's larynx and using infrared, he was able to convert the visible vibrations of the vocal cords into sound of fair quality, but that did not satisfy him. He worked for a while on vibrations picked up from panes of gla.s.s in windows and on framed pictures, and he experimented briefly with the diaphragms in speaker systems, intercoms and telephones. He kept on into October without stopping and finally achieved a system that would give tinny but recognizable sound from any vibrating surface-a wall, a floor, even the speaker's own cheek or forehead.

He redesigned the whole device, built a prototype and tested it, tore it down, redesigned, built another. It was Christmas before he was done. Once more he locked up the device and all his plans, drawings and notes.

At home he spent the holidays experimenting with commercial adhesives in various strengths. He applied these to coated paper, let them dry, and cut the paper into rectangles. He numbered these rectangles, pasted them onto letter envelopes, some of which he stacked loose; others he bundled together and secured with rubber bands. He opened the stacks and bundles and examined them at regular intervals. Some of the labels curled up and detached themselves after twenty-six hours without leaving any conspicuous trace. He made up another batch of these, typed his home address on six of them. On each of six envelopes he typed his office address, then covered it with one of the labels. He stamped the envelopes and dropped them into a mailbox. All six, minus their labels, were delivered to the office three days later.

Just after New Year's, he told his partner that he wanted to sell out and retire. They discussed it in general terms.

Using an a.s.sumed name and a post office box number which was not his, Smith wrote to a commission agent in Boston with whom he had never had any previous dealings. He mailed the letter, with the agent's address covered by one of his labels on which he had typed a fict.i.tious address. The label detached itself in transit; the letter was delivered. When the agent replied, Smith was watching and read the letter as a secretary typed it. The agent followed his instruction to mail his reply in an envelope without return address. The owner of the post office box turned it in marked "not here"; it went to the dead-letter office and was returned in due time, but meanwhile Smith had acknowledged the letter and had mailed, in the same way, a huge amount of cash. In subsequent letters he instructed the agent to take bids for components, plans for which he enclosed, from electronics manufacturers, for plastic casings from another, and for a.s.sembly and s.h.i.+pping from still another company. Through a second commission agent in New York, to whom he wrote hi the same way, he contracted for ten thousand copies of aninstruction booklet in four colors.

Late in February he bought a house and an electronics dealers.h.i.+p in a small town in the Adirondacks.

In March he signed over his interest in the company to his partner, cleaned out his lab and left He Bold his co-op apartment in Manhattan and his summer house in Connecticut, moved to his new home and became anonymous.

You are thirteen, chasing a fox with the big kids for the first time. They have put you in the north field, the worst place, but you know better than to leave it "He's in the glen."

"I see him; he's in the brook, going upstream."

You turn the viewer, racing forward through dappled shade, a brilliance of leaves: there is the glen, and now you see the fox, trotting through the shallows, blossoms of bright water at its feet.

"Ken and Nell, you come down ahead of him by the springhouse. Wanda, you and Tim and Jean stay where you are. Everybody else come upstream, but stay back till I tell you."

That's Leigh, the oldest. You turn the viewer, catch a glimpse of Bobby running downhill through the woods, his long hair flying. Then back to the glen: the fox is gone.

"He's heading up past the corncrib!"

"Okay, keep spread out on both sides, everybody. Jim, can you and Edie head him off before he gets to the woods?"

"Well try. There he is!"

And the chase is going away from you, as you knew it would, but soon you will be older, as old as Nell and Jim; then you will be in the middle of things, and your life will begin.

By trial and error, Smith has found the settings for Dallas, November 22, 1963: Dealey Plaza, 12:25 P.M. He sees the Presidential motorcade making the turn onto Elm Street. Kennedy slumps forward, raising his hands to his throat. Smith presses a b.u.t.ton to hold the moment in tune. He scans behind the motorcade, finds the sixth floor of the Book Depository Building, finds the window. There is no one behind the barricade of cartons; the room is empty. He scans the nearby rooms, finds nothing. He tries the floor below. At an open window a man kneels, holding a high-powered rifle. Smith photographs him.

He returns to the motorcade, watches as the second shot strikes the President. He freezes time again, scans the surrounding buildings, finds a second marksman on a roof, photographs him. Back to the motorcade. A third and fourth shot, the last blowing off the side of the President's head. Smith freezes the action again, finds two gunmen on the gra.s.sy knoll, one aiming across the top of a station wagon, one kneeling in the shrubbery. He photographs them. He turns off the power,, sits for a moment, then goes to the washroom, kneels beside the toilet and vomits.

The viewer is your babysitter, your television, your telephone (the telephone lines are still up, but they are used only as signaling devices; when yon know that somebody wants to talk to you, you focus your viewer on him), your library, your school. Before p.u.b.erty you watch other people having s.e.x, but even then your curiosity is easily satisfied; after an older cousin initiates you at fourteen, you are much more interested in doing it yourself. The co-op teacher monitors your studies, sometimes makes suggestions, but more and more, as you grow older, leaves you to your own devices. You are intensely interested in African prehistory, in the European theater, and in the ant-civilization of Epsilon Eridani IV. Soon you will have to choose.

New York Harbor, November 4, 1872-a cold, bl.u.s.tery day. A two-masted s.h.i.+p rides at anchor; on her stern is lettered: Mary Celeste. Smith advances the time control. A flicker of darkness, light again, and the s.h.i.+p is gone. He turns back again until he finds it standing out under light canvas past Sandy Hook. Manipulating time and s.p.a.ce controls at once, be follows it eastward through a nickering of storm and sun-loses it, finds it again, counting days as he goes. The farther eastward, the more he has to tilt the device downward, while the image of the s.h.i.+p tilts correspondingly away from him. Because of the angle, he can no longer keep the s.h.i.+p in view from a distance but must track it closely. November 21 and 22, violent storms: the s.h.i.+p is dashed upward by waves, falls again, visible only intermittently; it takes him five hours to pa.s.s through two days of real time. The 23rd is calmer, but on the 24th another storm blows up. Smith rubs his eyes, loses the s.h.i.+p, finds it again after a ten-minute search.The gale blows itself out on the morning of the 26th. The sun is bright, the sea almost dead calm.

Smith is able to catch glimpses of figures on deck, tilted above dark cross-sections of the hull. A sailor is splicing a rope in the stem, two others lowering a triangular sail between the foremast and the bowsprit, and a fourth is at the helm. A little group stands leaning on the starboard rail; one of them is a woman.

The next glimpse is that of a running figure who advances into the screen and disappears. Now the men are lowering a boat over the side; the rail has been removed and lies on the deck. The men drop into the boat and row away. He hears them shouting to each other but cannot make out the words.

Smith turns to the s.h.i.+p again: the deck is empty. He dips below to look at the hold, filled with casks, then the cabin, then the forecastle.

There is no sign of anything wrong-no explosion, no fire, no trace of violence. When he looks up again, he sees the sails flapping, then bellying out full. The sea is rising. He looks for the boat, but now too much tune has pa.s.sed and he cannot find it. He returns to the s.h.i.+p and now reverses the time control, tracks it backward until the men are again in then- places on deck. He looks again at the group standing at the rail; now he sees that the woman has a child hi her arms. The child struggles, drops over the rail.

Smith hears the woman shriek. In a moment she too is over the rail and falling into the sea.

He watches the men running, sees them launch the boat As they pull away, he is able to keep the focus near enough to see and hear them. One calls, "My G.o.d, who's at the helm?" Another, a bearded man with a face gone tallow-pale, replies, "Never mind-row!" They are staring down into the sea. After a moment one looks up, then another. The Mary Celeste, with three of the four sails on her foremast set, is gliding away, slowly, now faster; now she is gone.

Smith does not run through the scene again to watch the child and her mother drown, but others do.

The production model was ready for s.h.i.+pping hi September. It was a simplified version of the prototype, with only two controls, one for s.p.a.ce, one for time. The range of the device was limited to one thousand miles. Nowhere on the casing of the device or in the instruction booklet was a patent number or a pending patent mentioned. Smith had called the device Ozo, perhaps because he thought it sounded vaguely j.a.panese. The booklet described the device as a distant viewer and gave clear, simple instructions for its use. One sentence read cryptically: "Keep Time Control set at zero." It was like "Wet Paint-Do Not Touch."

During the week of September 23, seven thousand Ozos were s.h.i.+pped to domestic and Canadian addresses supplied by Smith: five hundred to electronics manufacturers and suppliers, six thousand, thirty to a carton, marked "On Consignment," to TV outlets in major cities, and the rest to private citizens chosen at random. The instruction booklets were in sealed envelopes packed with each device. Three thousand more went to Europe, South and Central America, and the Middle East.

A few of the outlets which received the cartons opened them the same day, tried the devices out, and put them on sale at prices ranging from $49.95 to $125. By the following day the word was beginning to spread, and by the close of business on the third day every store was sold out. Most people who got them, either through the mail or by purchase, used them to spy on their neighbors and on people in hotels.

In a house in Cleveland, a man watches his brother-in-law in the next room, who is watching his wife getting out of a taxi. She goes into the lobby of an apartment building. The husband watches as she gets into the elevator, rides to the fourth floor. She rings the bell beside the door marked 410. The door opens; a dark-haired man takes her in his arms; they kiss.

The brother-in-law meets him in the hall. "Don't do it, Charlie."

"Get out of my way."

"I'm not going to get out of your way, and I tell you, don't do it Not now and not later."

"Why the h.e.l.l shouldn't I?"

"Because if you do I'll kill you. If you want a divorce, OK, get a divorce. But don't lay a hand on her or I'll find you the farthest place you can go."

Smith got his consignment of Ozos early in the week, took one home and left it to his store manager to put a price on the rest He did not bother to use the production model but began at once to build another prototype. It had controls calibrated to one-hundredth of a second and one millimeter, and a timer that would allow him to stop a scene, or advance or regress it at any desired rate. He orderedsome clockwork from an astronomical supply house.

A high-ranking officer in Army Intelligence, watching the first demonstration of the Ozo in the Pentagon, exclaimed, "My G.o.d, with this we could dismantle half the establishment-all we've got to do is launch interceptors when we see them push the b.u.t.ton."

"It's a good thing Senator Burkhart can't hear you say that" said another officer. But by the next afternoon everybody had heard it.

A Baptist minister in Louisville led the first mob against an Ozo a.s.sembly plant. A month later, while civil and criminal suits against all the rioters were still pending, tapes showing each one of them in compromising or ludicrous activities were widely distributed in the press.

The commission agents who had handled the orders for the first Ozo were found out and had to leave town. Factories were fire-bombed, but others took their place.

The first Ozo was smuggled into the Soviet Union from West Germany by Katerina Belov, a member of a dissident group in Moscow, who used it to doc.u.ment illegal government actions. The device was seized on December 13 by the KGB; Belov and two other members of the group were arrested, imprisoned and tortured. By that time over forty other Ozos were in the hands of dissidents.

You are watching an old movie, Bob and Ted and Carol and Alice. The humor seems infantile and unimaginative to you; you are not interested in the actresses' occasional semi-nudity. What strikes you as hilarious is the coyness, the sidelong glances, smiles, grimaces hinting at things that will never be shown on the screen. You realize that these people have never seen anyone but their most intimate friends without clothing, have never seen any adult s.h.i.+t or p.i.s.s, and would be embarra.s.sed or disgusted if they did. Why did children say "pee-pee" and "poo-poo," and then giggle? Yon have read scholarly books about taboos on "bodily functions,'' but why was s.h.i.+tting worse than sneezing?

Cora Zickwolfe, who lived in a remote rural area of Arizona and whose husband commuted to Tucson, arranged with her nearest neighbor, Phyllis Moll, for each of them to keep an Ozo focused on the bulletin board in the other's kitchen. On the bulletin board was a note that said "OK." If there was any trouble and she couldn't get to the phone, she would take down the note, or if she had time, write another.

In April 1992, about the time her husband usually got home, an intruder broke into the house and seized Mrs. Zickwolfe before she had time to get to the bulletin board. He dragged her into the bedroom and forced her to disrobe. The state troopers got there hi fifteen minutes, and Cora never spoke to her friend Phyllis again.

Between 1992 and 2002 more than six hundred improvements and supplements to the Ozo were recorded. The most important of these was the power system created by focusing the Ozo at a narrow aperture on the interior of the Sun. Others included the system of satellite slave units in stationary orbits and a computerized tracer device which would keep the Ozo focused on any subject.

Using the tracer, an entomologist in Mexico City is following the ancestral line of a honey bee. The images bloom and expire, ten every second: the tracer is following each queen back to the egg, men the egg to the queen that laid it, then that queen to the egg. Tens of thousands of generations have pa.s.sed; in two thousand hours, beginning with a Paleocene bee, he has traveled back into the Cretaceous. He stops at intervals to follow the bee in real time, then accelerates again. The hive is growing smaller, more primitive. Now it is only a cl.u.s.ter of round cells, and the bee is different, more like a wasp. His year's labor is coming to fruition. He watches, forgetting to eat, almost to breathe.

In your mother's study after she dies, you find an elaborate chart of her ancestors and your father's.

You retrieve the program for it, punch it in, and idly watch a random sampling, back into time, first me female line, then the male ... a teacher of biology in Boston, a suffragette, a corn merchant, a singer, a Dutch fanner in New York, a British sailor, a German musician. Their faces glow in the screen, bright-eyed, cheeks flushed with life. Someday you too will be only a aeries of images in a screen.

Smith is watching the planet Mars. The clockwork which turns the Ozo to follow the planet, even when it is below the horizon, makes it possible for him to focus instantly on the surface, but he never does this. He takes up his position hundreds of thousands of miles away, then slowly approaches, in order to see the red spark grow to a disk, then to a yellow sunlit ball hanging hi darkness. Now he can make outthe surface features: Syrtis Major and Thoth-Nepenthes leading in a long gooseneck to Utopia and the frostcap.

The image as it swells hypnotically toward him is clear and sharp, without tremor or atmospheric distortion. It is summer in the northern hemisphere: Utopia is wide and dark. The planet fills the screen, and now he turns northward, over the cratered desert still hundreds of miles distant A dust storm, like a yellow veil, obscures the curved neck of Thoth-Nepenthes; then he is beyond it, drifting down to the edge of the frostcap. The limb of the planet reappears; he floats like a glider over the dark surface tinted with rose and violet-gray; now he can see its nubbly texture; now he can make out individual plants. He is drifting among their gnarled gray stems, their leaves of violet bora; he sees the curious misshapen growths that may be air bladders or some grotesque a.n.a.logue of blossoms. Now, at the edge of the screen, something black and spindling leaps. He follows it instantly, finds it, brings it hugely magnified into the center of the screen: a thing like a hairy beetle, its body covered with thick black hairs or spines; it stands on six jointed legs, waving its antennae, its mouth parts busy. And its four bright eyes stare into his, across forty million miles.

Smith's hair got whiter and thinner. Before the 1992 Crash, he made heavy contributions to the International Red Cross and to volunteer organizations in Europe, Asia and Africa. He got drunk periodically, but always alone. From 1993 to 1996 he stopped reading the newspapers.

He wrote down the coordinates for the plane crash in which his daughter and her husband had died, but never used them.

At intervals while dressing or looking into the bathroom mirror, he stared as if into an invisible camera and raised one finger. In his last years he wrote some poems.

We know his name. Patient researchers, using advanced scanning techniques, followed his letters back through the postal system and found him, but by that time he was safely dead.

The whole world has been at peace for more than a generation. Crime is almost unheard of. Free energy has made the world rich, but the population is stable, even though early detection has wiped out most diseases. Everyone can do whatever he likes, providing his neighbors would not disapprove, and after all, their views are the same as his own.

Yon are forty, a respected scholar, taking a few days out to review your life, as many people do at your age. You have watched your mother and father coupling on the night they conceived you, watched yourself growing in her womb, first a red tadpole, then a thing like an embryo chicken, then a big-headed baby kicking and squirming. You have seen yourself delivered, seen the first moment when your b.l.o.o.d.y head broke into the light. You have seen yourself staggering about the nursery in rompers, clutching a yellow plastic duck. Now you are watching yourself hiding behind the fallen tree on the hill, and you realize that there are no secret places. And beyond you in the ghostly future you know that someone is watching you as you watch; and beyond that watcher another, and beyond that another. . . .

Forever.

from Compet.i.tion 13: Excerpts from myopic early SF or Utopian novels It was after a Popular Concert which had included all of Bach's Suites for Unaccompanied Violoncello that I ventured to remonstrate with my Mentor.

"Constable, all this culture may be very well, but sometimes a fellow needs, well, d-mn it! What do ordinary people nowadays do for amus.e.m.e.nt?"

He frowned slightly. "My dear sir, it is out of consideration for you that I have exposed you only to our lighter forms of entertainment. I presume you are referring to something in the nature of a Music Hall, or Vaudeville. I a.s.sure you that, since the advent of Universal Education, even the popular taste has become too refined to tolerate the foolishness of sentimental songs and lurid melodrama. Also, please do not use again the expression you have just uttered. I mean the one beginning with the letter D. Ourtwentieth-century society has grown unaccustomed to language of such violence."

-David T. J. Doughan We sped through the city in what I judged to be a locomotive, although there were no tracks. "What new wonder shall I see?" I mused, for many were the sights shown me already. My guide, an ill.u.s.trious professor, halted the machine.

"In this mill, fine white flour is made. All unwholesome parts of the grain are removed and certain substances poisonous to insects and rodents are introduced." I followed in as he continued: "Only women are employed here, though they don't stay long."