The Quist girl had called his attention to it again, and now, in the twilight morning of half-sleep, he was able to at least contemplate the notion without prejudice. The idea of markings carved on a box, which were able to be altered-or to somehow alter themselves-was on the surface absurd. But suppose one had the suspicion that they did. What if this idea lingered and no matter how many times the writing was consulted one could not with absolute certainty feel as if the suspicion had been dispelled? This alone said something important about the symbol system, Lloyd felt. This was, in fact, a fundamental part of its uniqueness-that every time you confronted it, it seemed new and all the more indecipherable.
Yet if it were just a matter of impressions one could argue that the sense of change and movement was due to the foreignness of the markings. The whole world was like this. Birds arrange themselves like musical notes on the rope between trees where you hang washing. Are they the same birds you saw yesterday? Are they all the same? Do all humans appear as un-differentiated and interchangeable to other undomesticated species? This question sent him down a long corridor of speculation, and at the end of the corridor was a painting.
The impression one had that the Ambassadors’ writing underwent some kind of alteration (perhaps continuously, perhaps not) struck him as no more extraordinary than a painting that seems to change color and mood depending on the light, which brought to mind again the story that St. Ives had told about the paintings in Junius Rutherford’s possession. These apparently innocuous works of art, when observed over time, possessed very odd properties. It was not the effects their surface created that changed but the deeper structure, the very subject matter-or so his friend with the mechanical prosthesis had insisted.
As outrageous as the things the gambler had told him were, Lloyd acknowledged that there was a kind of consistency to them-and consistency, whatever form it takes, is always the hallmark of something one should pay attention to.
To Lloyd, the “painting phenomenon” was a transformation analogous to what he imagined occurring with the twins’ secret writing-and what the horse-faced girl may have been alluding to. The amount of space, the frame for each, did not change, but what happened within the frame did, over time. Time was the crucial element. Time and the observer, of course. Without someone to observe the changes, would they occur?
His mind had often spun around this perennial question of philosophy and perception. But now he saw that there was another aspect. There was the much more subtle yet still intensely practical issue of how the presence of a perceiver changed the event or object viewed. If, for instance, one was willing to grant some occult instability to the twins’ writing, what was it that triggered the changing? People, when they know they are being watched, behave differently from when they think they are alone and unseen. They perform. Could it be that in some way the markings were performing, and that the increase in their luminosity was influenced by the number of people and the intensity of attention paid? This would suggest that there was something important about his own particular participation, for the markings had shone brighter when he made physical contact.
This chain of thought brought to mind a comment his mother had made years before, when the husband of one of her herbal-remedy patients had asked with mock seriousness if she honestly believed ghosts were “truly real” or if she was just being colorful and folksy and thought that they were “creatures in the mind.” To Lloyd’s surprise, Rapture dropped the usual white accent she used in public and replied, “Show me now where yer mine true ends and de worl’ begins, I show you plenny ghosts.”
Something about ghosts. And time.
Ghosts and time were intimately related, and yet profoundly disconnected. For what were ghosts but people who had stepped out of time-who were now immune to time-watching from outside, interacting with the world but no longer of it?
What would the world look like outside time? Lloyd wondered in his sleep. What would human culture look like-or sound like-outside language?
Time was change. The glyphs of the Ambassadors seemed to be constantly changing, except for the spiral symbol that looked like a tornado. So their language had something to do with time.
But was not a written language always about time? A fixing and freezing of a spoken language? In his dream state it occurred to him that he had assumed that the markings and carvings were transcriptions of the alien tongue the twins seemed to share. Their behavior had suggested that they understood each other’s sounds. Because the one was so bizarre, he had made the link to their markings; it was not surprising that a method of transcription would appear alien, too. What had puzzled him was why they needed to write. If no one else could understand their language, what was the point of writing? They could speak to each other.
Looking at these assumptions now, he saw that people often write things down for their private benefit. (He did.) To make things clearer for themselves. To prioritize. To remember. Or for other as yet unknown people to find and read. To teach. What were most books? Messages written in the hope of being found and decoded. Perhaps the brothers were trying to teach people their language, only it was hard to find a suitable student.
Something about ghosts. And time.
In his trance state, Lloyd slipped through the hierograms and the phenomenon of their luminosity for a moment, back to the Martian Ambassadors’ speech and the question of what things would not just look like but sound like outside or in some new relation to time. Yes, there was something about ghosts and time when it came to the twins. And tornadoes-or at least the tornado that they had dropped out of.
He spiraled around and around, trying to cut through the shame and guilt he felt about his actions toward them, to hear their voices again, to visualize the changes he had imagined in their hierograms. Why was it that the one symbol that seemed the most representative of dynamism-the spiral icon-was the one element that he was certain remained constant?
It was not a letter like A or Z. It was not even a unit of meaning, he thought. It was…
It was a kind of system unto itself. A value system for interpreting all the other symbols and their relationship to each other. Was that it?
He could not grasp onto the mechanism. All his young life he had sought out with instinctive acuity the essential elements of machine operations and physical processes. He was a born engineer, with a pathological curiosity. Now he was seeing a whole new world open before his dreaming eyes-the possibility that behind and inherent in language were mechanisms equally as real as the physics of a slingshot or the chemistry of a beer vat, but far more mysterious and perhaps much more powerful.
If one could connect the mechanisms of language with ballistics and pharmacology, optics, harmonics, hydraulics and medicine, mathematics and music. If one could master the secrets of symbols and syphons, surgeries and solar energy. If one knew the exact point where the mind ended and the world began, and could render it…
Who would need projectiles if they had mastered that enigmatic science?