“Yes,” McCarthy said.
They both knew—because they had both been directly involved, and for a long time.
W-M Corporation’s stated legal business consisted in turning out wrought-iron staircases, railings, fireplaces, and ornaments for new apartment buildings, all on a mass basis, from standard designs. For a new forty-unit building the same piece would be executed forty times in a row. Ostensibly, W-M Corporation was an iron foundry. But in addition, it maintained another business from which its real profits were derived.
Using an elaborate variety of tools, materials, and machines, W-M Corporation turned out a constant flow of forgeries of pre-war American artifacts. These forgeries were cautiously but expertly fed into the wholesale art object market, to join the genuine objects collected throughout the continent. As in the stamp and coin business, no one could possibly estimate the percentage of forgeries in circulation. And no one—especially the dealers and the collectors themselves—wanted to.
When Frink had quit, there lay half-finished on his bench a Colt revolver of the Frontier period; he had made the molds himself, done the casting, and had been busy handsmoothing the pieces. There was an unlimited market for small arms of the American Civil War and Frontier period; W-M Corporation could sell all that Frink could turn out. It was his specialty.
Walking slowly over to his bench, Frink picked up the still-rough and burred ramrod of the revolver. Another three days and the gun would be finished. Yes, he thought, it was good work. An expert could have told the difference… but the Japanese collectors weren’t authorities in the proper sense, had no standards or tests by which to judge.
In fact, as far as he knew, it had never occurred to them to ask themselves if the so-called historic art objects for sale in West Coast shops were genuine. Perhaps someday they would… and then the bubble would burst, the market would collapse even for the authentic pieces. A Gresham’s Law: the fakes would undermine the value of the real. And that no doubt was the motive for the failure to investigate; after all, everyone was happy. The factories, here and there in the various cities, which turned out the pieces, they made their profits. The wholesalers passed them on, and the dealers displayed and advertised them. The collectors shelled out their money and carried their purchases happily home, to impress their associates, friends, and mistresses.
Like postwar boodle paper money, it was fine until questioned. Nobody was hurt—until the day of reckoning. And then everyone, equally, would be ruined. But meanwhile, nobody talked about it, even the men who earned their living turning out the forgeries; they shut their own minds to what they made, kept their attention on the mere technical problems.
“How long since you tried to do original designing?” McCarthy asked.
Frink shrugged. “Years. I can copy accurately as hell. But—”
“You know what I think? I think you’ve picked up the Nazi idea that Jews can’t create. That they can only imitate and sell. Middlemen.” He fixed his merciless scrutiny on Frink.
“Maybe so,” Frink said.
“Try it. Do some original designs. Or work directly on the metal. Play around. Like a kid plays.”
“No,” Frink said.
“You have no faith,” McCarthy said. “You’ve completely lost faith in yourself—right? Too bad. Because I know you could do it.” He walked away from the workbench.
It is too bad, Frink thought. But nevertheless it’s the truth. It’s a fact. I can’t get faith or enthusiasm by willing it. Deciding to.
That McCarthy, he thought, is a damn good shop foreman. He has the knack of needling a man, getting him to put out his best efforts, to do his utmost in spite of himself. He’s a natural leader; he almost inspired me, for a moment, there. But—McCarthy had gone off, now; the effort had failed.