Robert Silverberg: Enter a Soldier. Later: Enter Another

It might be heaven. Certainly it wasn't Spain and he doubted it could be Peru. He seemed to be floating, suspended midway between nothing and nothing. There was a shimmering golden sky far above him and a misty, turbulent sea of white clouds boiling far below. When he looked down he saw his legs and his feet dangling like child's toys above an unfathomable abyss, and the sight of it made him want to puke, but there was nothing in him for the puking. He was hollow. He was made of air. Even the old ache in his knee was gone, and so was the everlasting dull burning in the fleshy part of his arm where the Indian's little arrow had taken him, long ago on the shore of that island of pearls, up by Panama.

It was as if he had been born again, sixty years old but freed of all the harm that his body had experienced and all its myriad accumulated injuries: freed, one might almost say, of his. body itself.

"Gonzalo?" he called. "Hernando?"

Blurred dreamy echoes answered him. And then silence.

"Mother of God, am I dead?"

No. No. He had never been able to imagine death. An end to all striving? A place where nothing moved? A great emptiness, a pit without a bottom? Was this place the place of death, then? He had no way of knowing. He needed to ask the holy fathers about this.

"Boy, where are my priests? Boy?"

He looked about for his page. But all he saw was blinding whorls of light coiling off to infinity on all sides. The sight was beautiful but troublesome. It was hard for him to deny that he had died, seeing himself afloat like this in a realm of air and light. Died and gone to heaven. This is heaven, yes, surely, surely. What else could it be?

So it was true, that if you took the Mass and took the Christ faithfully into yourself and served Him well you would be saved from your sins, you would be forgiven, you would be cleansed. He had wondered about that. But he wasn't ready yet to be dead, all the same. The thought of it was sickening and infuriating. There was so much yet to be done. And he had no memory even of being ill. He searched his body for wounds. No, no wounds. Not anywhere. Strange. Again he looked around. He was alone here. No one to be seen, not his page, nor his brother, nor De Soto, nor the priests, nor anyone. "Fray Marcos! Fray Vicente! Can't you hear me? Damn you, where are you? Mother of God! Holy Mother, blessed among women! Damn you, Fray Vicente, tell me—tell me—"

His voice sounded all wrong: too thick, too deep, a stranger's voice. The words fought with his tongue and came from his lips malformed and lame, not the good crisp Spanish of Estremadura but something shameful and odd. What he heard was like the spluttering foppishness of Madrid or even the furry babble that they spoke in Barcelona; why, he might almost be a Portuguese, so coarse and clownish was his way of shaping his speech.

Robert Silverberg: Not Our Brother

Halperin came into San Simón Zuluaga in late October, a couple of days before the fiesta of the local patron saint, when the men of the town would dance in masks. He wanted to see that. This part of Mexico was famous for its masks, grotesque and terrifying ones portraying devils and monsters and fiends. Halperin had been collecting them for three years. But masks on a wall are one thing, and masks on dancers in the town plaza quite another.

San Simón was a mountain town about halfway between Acapulco and Taxco. “Tourists don’t go there,” Guzmán López had told him. “The road is terrible and the only hotel is a Cucaracha Hilton—five rooms, straw mattresses.” Guzmán ran a gallery in Acapulco where Halperin had bought a great many masks. He was a suave, cosmopolitan man from Mexico City, with smooth dark skin and a bald head that gleamed as if it had been polished. “But they still do the Bat Dance there, the Lord of the Animals Dance. It is the only place left that performs it. This is from San Simón Zuluaga,” said Guzmán, and pointed to an intricate and astonishing mask in purple and yellow depicting a bat with outspread leathery wings that was at the same time somehow also a human skull and a jaguar. Halperin would have paid ten thousand pesos for it, but Guzmán was not interested in selling. “Go to San Simón,” he said. “You’ll see others like this.”

“For sale?”

Guzman laughed and crossed himself. “Don’t suggest it. In Rome, would you make an offer for the Pope’s robes? These masks are sacred.”

“I want one. How did you get this one?”

“Sometimes favors are done. But not for strangers. Perhaps I’ll be able to work something out for you.”

“You’ll be there, then?”

“I go every year for the Bat Dance,” said Guzmán. “It’s important to me. To touch the real Mexico, the old Mexico. I am too much a Spaniard, not enough an Aztec; so I go back and drink from the source. Do you understand?”

“I think so,” Halperin said. “Yes.”

“You want to see the true Mexico?”

“Do they still slice out hearts with an obsidian dagger?”

Guzmán said, chuckling, “If they do, they don’t tell me about it. But they know the old gods there. You should go. You would learn much. You might even experience interesting dangers.”

“Danger doesn’t interest me a whole lot,” said Halperin.

Harlan Ellison - Robert Silverberg: The Song The Zombie Sang

From the fourth balcony of the Los Angeles Music Center the stage was little more than a brilliant blur of constantly changing chromatics—stabs of bright green, looping whorls of crimson. But Rhoda preferred to sit up there. She had no use for the Golden Horseshoe seats, buoyed on their grab-grav plates, bobbling loosely just beyond the fluted lip of the stage. Down there the sound flew off, flew up and away, carried by the remarkable acoustics of the Center's Takamuri dome. The colors were important, but it was the sound that really mattered, the patterns of resonance bursting from the hundred quivering outputs of the ultracembalo.

And if you sat below, you had the vibrations of the people down there—

She was hardly naive enough to think that the poverty that sent students up to the top was more ennobling than the wealth that permitted access to a Horseshoe; yet even though she had never actually sat through an entire concert down there, she could not deny that music heard from the fourth balcony was purer, more affecting, lasted longer in the memory. Perhaps it was the vibrations of the rich.

Arms folded on the railing of the balcony, she stared down at the rippling play of colors that washed the sprawling proscenium. Dimly she was aware that the man at her side was saying something. Somehow responding didn't seem important. Finally he nudged her, and she turned to him. A faint, mechanical smile crossed her face. «What is it, Laddy?»