The Book of Philip Jose Farmer Part 24

Johnny smiled like a kid who's been given a sackful of candy for free. He picked up the bag and scooped the money into it and said, "I think Doc'll be able to help me out of this jam. He's a sharper, and he likes to take a dishonest sucker. But he isn't mean. He really does have a good heart. If anybody's smart enough to figure this out, he is."

He kissed Linda lightly on the lips and then ran out of the room.

Linda sat down again and waited. After a while she rose and went to the window to look out. She was just in time to see Johnny and Skeeter and Doc Grandtoul come out of the saloon across the street. Johnny was still holding the bag of money, and all three looked grim. Linda couldn't hear what they were saying, but they seemed to be arguing. They were talking and waving their hands when they walked into the livery stable.

Linda didn't leave the window. In about half an hour Johnny and Skeeter came out of the stable. Johnny was grinning. Neither of the two had the bag of money. They walked down the street and stopped in front of the Lucky Lode to talk to Doc Evans.

The three talked earnestly for about ten minutes, but when some men joined them they quit talking to each other and joined in the general conversation.

The sound of a shot reached Linda through the half-opened window. The men on the street looked startled, milled around for a moment, and then ran towards the stable. Linda raced down the hall and down the steps to the street. When she was halfway to the stable, she heard what the whole town of Acheron knew by then.

Doc Grandtoul was dead. He had accidentally shot himself.

Some stories have happy endings. Any story of young love should have a happy ending. It means two young citizens settling down in a town and raising more happy young citizens.

And this was what happened in Acheron after the uproar over Doc Grandtoul's sudden and sad demise had quieted down. Doc Grandtoul was p.r.o.nounced dead by Doc Evans, and the burial took place next day.

Only Linda thought it was peculiar that, when the coffin lid was closed over Doc Grandtoul, Doc Evans was the sole person present. And she noticed that Skeeter left town the same day. She didn't think it was so peculiar that not a word was said about the money paid to Doc Grandtoul. Those who had paid were not going to raise a fuss. Everybody pulled a long face and said what a pity it was that only Doc Grandtoul knew how to operate his machine. But very few moped around because of what had happened.

For a long time Linda never opened her mouth to Johnny about the incident of the revitalizing machine. She was satisfied that the result had been to make her happy.

However, one thing bothered her.

And one night, years later, when she and Johnny were sitting before the fireplace, after putting the kids to bed, Linda said, unexpectedly, "Johnny, what happened to those people who p.r.o.nounced you dead in all those towns you three scoundrels fleeced? Weren't they left to face everybody and be branded as sharpers just as Doc Evans would have been if Doc Grandtoul hadn't been killed?"

Johnny was startled, but after coughing a few times he managed to say, "I'm sorry to say that we didn't worry about them."

"If Doc Grandtoul had had an 'accident' in every town," she said, "n.o.body would have been left holding the bag."

Johnny was silent.

Linda looked into the fireplace a moment, and then she said, "I wonder where Doc Grandtoul is now?"

Johnny pretended to misunderstand her.

"I don't know, darling. I'll bet he went to the Good Place. After all, he brought us together, didn't he?"

An Exclusive Interview With Lord Greystoke

A subgenre of biographical literature is that which claims that certain people thought to be fictional are, or were, very much living. Splendid examples of this are Blakeney's Sir Percy Blakeney: Fact or Fiction? (a biography of the Scarlet Pimpernel), Baring-Gould's Sherlock Holmes of Baker Street and Nero Wolfe of West Thirty-Fifth Street, Parkinson's The Life and Times of Horatio Hornblower, and the Flashman Papers (three volumes so far) by Fraser. In fact, some public libraries stock these in the "B" or biography section. (The Blakeney book is in the "B" section of the Peoria, Illinois, public library.) I've written two such "lives": Tarzan Alive and Doc Savage: His Apocalyptic Life. (The former is in the biography section of the Yuma City, California, Library.) I plan to write biographies of The Shadow, Allan Quatermain, Fu Manchu, d'Artagnan, Travis McGee, and a number of others. Fu Manchu, by the way, may have been based on a real-life model, a Vietnamese named Hanoi Shan whose operations in early twentieth-century France were every bit as sinister and fantastic as Rohmer's creation. I was informed of this after I'd made the statement in Tarzan Alive that Fu Manchu had no living counterpart.

This form of apologia is a lot of fun and much hard work. It requires as much imagination as the writing of science fiction but more discipline. Historical facts must not be ignored. Baring-Gould, in writing his Holmes biography, had an enormous amount of scholars.h.i.+p, articles published in The Baker Street Journal and other periodicals, to draw upon. But he had not only to read all these but to study them and make decisions. He found many conflicting theories, and he had to pick the one that seemed most valid. In addition, where theories or speculations were lacking, he had to generate his own. He had to explain discrepancies, which are numerous in Watson's account of Holmes's life. And, I might add, Burroughs, in his semifictional narratives of Greystoke's career, left many discrepancies for the scholar to reconcile, if he could. There are also gaps in the life of the hero which the biographer must fill in. And if the original writer has neglected the hero's genealogy, the biographer must research this.

Sometimes, a biographer makes a statement which he cannot substantiate. Thus, Baring- Gould said that Holmes was a cousin of Professor Challenger. He has been much criticized by the Sherlockian scholars for this because he presented no evidence from the Canon. Fortunately, in my Tarzan Alive, I was able to validate the relations.h.i.+p. The fact that Tarzan's mother was a Rutherford gave me the clue needed to track down the cousinhood.

The following article is part of my interview with "Lord Greystoke" and appeared in the April, 1972, issue of Esquire under the t.i.tle of "Tarzan Lives." It was accompanied by a portrait of Greystoke, a photograph of a painting by Jean-Paul Goude. The staff of Esquire went to great lengths and much trouble to acquire this, for which they should be thanked. The report that Goude got the commission to do the painting because he is a relative of Admiral Paul d'Arnot of the French navy, Greystoke's closest friend, is being checked. It is said that Goude, like Holmes, is a descendant of Antoine Vernet, father of four famous French painters.

Editor's Note: For a number of years Mr. Farmer, who recorded the following interview, has been engaged in writing a definitive biography of the man Edgar Rice Burroughs called Tarzan of the Apes. Mr. Farmer's book, Tarzan Alive, to be published by Doubleday in April of this year, is similar in method to Baring-Gould's Sherlock Holmes of Baker Street and Parkinson's The Life and Times of Horatio Hornblower, with the very important difference that Mr. Farmer firmly avers that "Lord Greystoke" or "Tarzan" is really alive. In fact, Mr. Farmer was able to track his subject to earth in a hotel in Libreville, Gabon, on the coast of Western Africa just above the equator, where he was granted this interview. "I met him," Mr. Farmer tells us, "in his hotel room -- fittingly enough, on September 1, Edgar Rice Burroughs'

birthday. He is six feet three and, I suppose, about two hundred forty pounds. I did not have the opportunity to see him in action, of course, but just from the way he moved about the room I could guess at his immense physical strength. As Burroughs said, he is much more like Apollo than Hercules; his power lies in the quality not the quant.i.ty of his muscles. I don't hesitate to admit that I was awed. I was concerned, of course, that after all my research I might still have been the victim of a hoax; but from the moment I knocked on the door and heard that deep, rich voice say 'Enter,' I knew I had the right man. And of course I was even more convinced when I saw him move -- like a leopard, like water falling." The text of Mr. Farmer's interview follows.

TARZAN: How do you do, Mr. Farmer.

FARMER: How do you do, Your Grace.

T: If you don't mind, Mr. Farmer, I should prefer simply to be called John Clayton. I own a good many t.i.tles, both real and fictional, but John Clayton, is, as it were, my real name. Though not my true ident.i.ty, so to speak. As you apparently know.

F: Excuse me, sir -- Mr. Clayton. Mr. Clayton, you told me over the phone that you would see me for fifteen minutes only, so I'd better work fast. I'll start asking questions right now, if you don't mind?

T: By all means. You don't have a tape recorder on you, do you? No? Good.

F: May I ask first, sir, why you were kind enough to grant this interview?

T: Mr. Farmer, my reasons are my own. But I will say that I appreciate the very great efforts you have gone to in researching the details of my life. It is very flattering to me, and I am not entirely immune to that. Besides, you seem to have information about my family that even I myself don't know. Your genealogical researches provoke my own curiosity, which has always been ample. I may ask you a few questions myself.

F: Of course. First, though, may I ask how it happens that you seem to speak English as you do, with more or less of an American accent? You speak as though you came from Illinois, which is my own home state. I seem to recall that on the phone you spoke -- well, as I imagine dukes speak, the educated British accent.

T: I speak more or less as I am spoken to. You will recall that English is not my first spoken language -- though it was my first written language -- very unusual business, that -- or even my first spoken European language. But the first English-speaking country I visited was the United States, Wisconsin in particular, back in 1909. I was not quite twenty-one years old at the time. So when English was fairly new to me, I had rather a large dose of American. Nevertheless, in Britain I do speak British. I have a gift for mimicry, I suppose you might call it, and I conform pretty much to the dialect of my interlocutors. When I gave my first and only speech in the House of Lords I did speak as dukes speak, or at least as dukes think they speak. You seem nervous, by the way. Would you care for a drink? I believe I will join you in a small Scotch.

F: Thank you. But I'm surprised to find you a drinking man. I thought -- T: That I was an abstainer? For many years I was. In my early days among civilized people I not only saw the results of excess but, I'm afraid, committed it myself. For many years I abstained completely. However, I believe the rash impulses of youth are safely behind me now. I can be abstemious without being teetotal. After all, I am -- F: You are eighty-two years old. When this interview is published, you will be eighty-three. But I suppose as far as physical appearance is concerned, you look about thirty-five. It must be true, then, that story about the grateful witch doctor who gave you the immortality treatment -- T: That was in 1912. I was twenty-four then, so as you see I have apparently aged about ten years since. The treatment merely slows down the aging process.

Burroughs exaggerated its effects slightly, as he often did. I'll be an old man by the time I'm a hundred and fifty or so.

F: I'd like to return to your physical condition. But since you bring up Burroughs, and since Burroughs is the princ.i.p.al source of information about your life and family -- T: You would like to discuss the accuracy of Burroughs? Go ahead.

F: In Tarzan of the Apes, the first Tarzan book, Burroughs says that in 1888 your mother, then pregnant, accompanied your father on a secret mission to Africa for the British government. They hired a small s.h.i.+p, but the crew mutinied and stranded your parents on the coast of Africa. They were left on the sh.o.r.es of Portuguese Angola at approximately ten degrees south lat.i.tude, or about fifteen hundred miles north of Cape Town. But it seems to me that many of the scenes in the book could not have taken place in Angola.

T: That is correct. Actually, my parents were marooned on the sh.o.r.e of this very country, Gabon, which was then part of French Equatorial Africa. I was born about 190 miles south of here, in what is now the Parc National du Pet.i.t Loango. Any researcher, I believe, could have deduced that from the facts. There were gorillas in my natal territory, but there are no gorillas south of the Congo, and Angola extends far to the south of the Congo. Also, it was a French cruiser that landed near the same spot years later and rescued the party of Professor Porter, including my wife-to-be Jane, but left behind Lieutenant d'Arnot, my first civilized friend. Why would a French wars.h.i.+p be patrolling the sh.o.r.es of Angola, a Portuguese possession?

F: Nor are there any lions, zebras, or rhinoceroses in the Gabonese rain forests. What about the lioness whose neck Burroughs said you broke with a full nelson when she was trying to get into your parents' cabin after Jane?

T: The lioness was actually a leopard. It was about the size of a small lioness, one of the big leopards that the natives call injogu. I did break its neck. As you know, I had independently invented the full nelson a few months before when I fought the big mangani ape that Burroughs calls Terkoz.

F: Well, then, how do you explain the discrepancies between Burroughs and the facts?T: Mr. Farmer, the relations.h.i.+p between my life and Burroughs' narration of my life is exceedingly complex. I don't choose, for various reasons, to tell you all that I know about Burroughs' methods or my own; but I can tell you a number of his motives, some of which you may have figured out for yourself. First of all, Burroughs was essentially a romancer. He was not obligated to stick to the facts, and even if I had chosen to try to compel him, litigation would have been involved, and I would have had to appear in court and submit to questioning, which I would rather not have done. I entirely appreciate the feelings of your own Mr. Howard Hughes in this regard. In fact, after Burroughs wrote Tarzan of the Apes, I communicated with him, and I told him he should continue to make the narratives highly romantic, even fantastic. Jane advised that, because she said that if people found out I was not a fictional character, I would never again have a moment of privacy.

In the second place, Burroughs himself was not always fully informed. He first heard of me in the winter of 1911. I had then been known to the civilized world for only perhaps two years, and the records of my existence -- including my father's diary, which he kept until his death in Africa -- were then in England. By the way, here are some photostats of that diary. You may examine them, but you may not take them with you. In any case, Burroughs had not been to England, much less to Africa, and had his information by word of mouth at several removes. In many cases he had to fill in gaps by sheer guesswork, some of which is accurate, some not. For the sake of verisimilitude, Burroughs pretended to be much closer to his sources than was in fact the case.

Finally, certain facts are disguised in the books because they are best left disguised. Burroughs gives directions for getting to the lost city of Opar, with its spires and domes and vaults of gold and jewels. But those directions will lead the curious nowhere. Not that it matters so much in that case, because I have long since disguised the ruins of Opar completely. You could go there today and never know you were there. But I hope you won't try.

A few of Burroughs' stories are pure fiction. In Jungle Tales of Tarzan, I am supposed to have shot arrows into the sky in an effort to stop an eclipse of the moon.

But the story happens in 1908, and in fact there was no such eclipse visible from my part of Africa that year. Sheer fabrication.

F: I see from your father's diary that he delivered you himself, though he had nothing but some medical books to go by. You were born a few minutes after midnight of November 22, 1888. On the cusp of Sagittarius and Scorpio. Scorpio the pa.s.sionate and Sagittarius the hunter.

T: I know that. I have read much about astrology, though I believe in it about as much as I do in the speeches of politicians. Still, Sagittarius, the centaur with the bow, could not be a better symbol of the half-animal, half-man that I have been. And I am a very good archer indeed. And Scorpios are supposed to be ingenious, creative, true friends, and dangerous enemies, all of which I am. We're also supposed to exude s.e.xual power. Hmm.

F: Burroughs gives many instances of women attempting to seduce you. You are certainly not the inarticulate ape-man of the movies. What you say about being a good archer, however, reminds me of some critics who maintain you could not have accomplished this. They refer to Marshall McLuhan's thesis that only literate peoples can produce excellent marksmen.

T: I've read The Mechanical Bride and Understanding Media. McLuhan forgets the medieval English bowman, who was certainly illiterate but undoubtedly a great marksman. And the critics forget that I taught myself to read and write English.

I was not illiterate, though I couldn't speak the language.F: What do you think of the Tarzan movies?

T: I saw the first one in 1920, the one with Elmo Lincoln. I came very near to leaping up onto the stage and tearing the picture apart. That fake jungle, those doped- up, scraggly circus cats! Lincoln was built more like a gorilla than like me, and he wore a headband, which I have never done. All that swinging on a vine is movie invention as well, as is Cheetah the chimpanzee. Nowhere even in Burroughs will you find me swinging on vines, though it's true that he did greatly exaggerate my tree- traveling abilities. I'm too heavy to go skipping along the, ah, arboreal avenues like a monkey. And the chimpanzees would never trust me because they identified me with the great apes who brought me up. We -- that is, they -- used to eat chimps when they could catch them. But later on I began to find the Tarzan movies more amusing than disgusting. Jane helped me to learn to tolerate them.

F: Arthur Koestler wrote an article claiming that you couldn't have escaped being mentally r.e.t.a.r.ded. He said there had been a few authentic cases of children raised by baboons or wolves and then found by humans. These were unable to master any language. Apparently, if the child doesn't experience language before a certain age, it is forever incapable of learning speech.

T: Koestler must not have bothered to read the Tarzan books. Otherwise he would have learned that the great apes did have a language. He should have deduced, as many have, that the great apes, or mangani, were really near-humans. Hominids, in fact. Remember what I said about the sketchy information upon which Burroughs'

early books were based? He supplied missing data with imagination or even misinformation. He made up names. He put animals in the Gabonese jungles that did not belong there. He described the mangani as great apes. My father had thought they were apes, and so called them in his diary. But my father was not a zoologist or a paleontologist.

The mangani were a very rare, nearly extinct -- even eighty years ago -- genus of hominids, halfway between ape and man. They might have been a giant variety of Australopithecus robustus. The fossil remains of this hominid have been found by Leakey in East Africa, you know. The mangani -- and I use Burroughs' word for them, since their own term is an unp.r.o.nounceable jawbreaker -- had crested skulls and ma.s.sive jaws. They had long arms and often used their knuckles to a.s.sist them in walking, but they had manlike hips and leg bones. They could walk upright when they chose.

Burroughs later had better information about his great apes. However, for the sake of consistency he described them in the later novels as he had done earlier on.

He slipped in the sixth book, Jungle Tales of Tarzan, when he said they walked upright and were manlike.

I can speak mangani fluently, of course. But I can't p.r.o.nounce it quite perfectly. The mangani oral structure is different from man's, and many of their speech sounds have no exact equivalent in human speech. So though I can speak English with any of several accents, I always speak mangani with a human accent.

F: Did the big mangani, Terkoz, really abduct Jane and try to rape her? And you killed him with your father's hunting knife?

T: Yes. And there you see, by the way, another reason why the mangani should not be cla.s.sified as apes. They are capable of raping a human being, whereas a gorilla is not. I once read in the memoirs of Trader Horn about a white trader who put a male gorilla in a cage with a native girl. The gorilla did nothing but sulk in one corner while the poor girl wept in the other. Horn said he shot the white man when he found out about it. In any case, gorillas have forty-eight chromosomes, humans only forty-six, so a gorilla-human hybrid is not possible. But Burroughs knew of instances of offspring being born to a human and a mangani.

F: Albert Schweitzer maintained that Trader Horn, aside from some trifling discrepancies, was generally accurate. Did you know that Schweitzer built his house on the site of Horn's trading post?

T: Yes, at Adolinanongo, a little distance above Lambarene on the Ogowe River. I know it well. There's a Catholic mission there, founded in 1886. That's where Lieutenant d'Arnot and I came out of the jungle on our trek to civilization.

F: Would you care to comment on how you taught yourself to read and write English? As far as I know this is a unique intellectual feat, especially since you had never heard a word of it spoken.

T: I was about ten years old when I discovered how to unlock the door to my parents' cabin, and there I found, as you have read in Burroughs, a number of books, all of them perfectly meaningless to me, of course. But one of them was a big ill.u.s.trated children's alphabet book with pictures of bowmen and the like, you know, and legends like "A is for Archer, who shoots with the bow," that sort of thing.

Finally it dawned on me that the writing had something to do with the picture, and I spent I don't know how long puzzling it out. When I was seventeen I could read a child's primer. I called the letters "little bugs," or the mangani equivalent rather, and I knew how they worked. One detail you may find rather amusing is this: I had to invent, and did invent, my own manner of p.r.o.nouncing the English words, which had nothing to do of course with real English but was governed by the usages of mangani grammar. Mangani has two genders, indicated by the prefixes bu for the masculine and mu for the feminine. Now I supposed that the capital letters were masculine, since they were bigger, and the rest feminine. And as children will do when they know the alphabet but don't yet know how to read, I p.r.o.nounced each letter separately, using arbitrary syllables taken from mangani. Does this seem terribly complicated? For example, I p.r.o.nounced g as la; o as tu; and d as mo. Now take the English word G.o.d; adding the prefixes, I p.r.o.nounced it Bulamutumumo. The equivalent in English would be he-g-she-o-she-d. Now that's very c.u.mbersome, of course, but it worked. I could read my father's books and know what I was reading.

I had no idea how to write my mangani name, but I had seen a picture of a little white boy, which in Anglo-Mangani, I suppose you might call it, is b.u.mudomutumuro, or He-she-b-she-o-she-y. That's what I called myself.

F: Burroughs says that when you discovered intruders had messed up the cabin, you printed a threatening note to them. You signed it with your mangani name.

How could you do that if you didn't know how to write it in English?

T: I didn't. I printed a translation of my mangani name: White Skin. When Burroughs wrote Tarzan of the Apes, he had no record of the exact text of the note.

He made up the text, and he did not care to take time out from the action to explain that I couldn't use my mangani name. Remember he was first and last a storyteller.

F: Your reading must have given you some strange ideas about the outside world. You had no proper references to give you a full comprehension of the books.

T: My ideas were no stranger than the reality. My initial encounters with human beings were extremely unpleasant. The first human being I ever saw had just murdered my foster mother. To him she was an ape, but to me she was the most beautiful and loving and lovable person in the world. The first time I saw white men, one was murdering another. I am fortunate that that didn't make me shun mankind forever. Otherwise I'd never have known human love.

F: When you matured and discovered that you were not an ape but a man, didn't you think of turning to the native tribes for companions.h.i.+p?

T: No. I hated them all for a long time, because I blamed them for my foster mother's death. Also, they were cannibals, and anybody not of their tribe was meat to them. And they had had unfortunate experiences with white men. In addition to that, the women coated their bodies and hair with rancid palm-nut oil. I have an unusually keen sense of smell, and consequently they repelled me. Still, if Jane hadn't come along -- F: Burroughs portrays you as free of racial prejudice.

T: Like Mark Twain, I have only one prejudice. That is against the human race.

F: Let me not pursue that further. Many readers have found your behavior with Jane when you were alone in the jungle incredibly chivalrous. Burroughs attributes this to heredity, but no one today would accept this explanation.

T: Remember, I read all the novels -- Victorian novels, mind you -- in my father's library. And I read Malory's book about King Arthur and the knights and the fair ladies. I believed in chivalry quite literally. And I was in love with Jane and did not want to offend her. Besides, the mangani have a code of ethics, you know. They are not apes. They do not copulate in public; they demand, though they do not always get, marital fidelity; they punish rape with death, if the injured party wishes it.

Consider all the factors and you'll find my behavior credible enough.

F: You became chief of a black tribe which Burroughs called the Waziri. Are you aware that Robert Lewis Taylor, in his biography of W. C. Fields, says that Fields once went with Tex Rickard on a world tour? And that Fields entertained a tribe of naked Waziri? That would have been in 1906 or 1907, several years before you encountered the Waziri. Did your Waziri ever say anything about Fields?

T: I have no comment on that, I'm afraid.

F: How much of Burroughs' Tarzan and the Lion Man is true? It seems to me that Burroughs wrote it mainly to satirize Hollywood.

T: Yes, nearly everything in that book is fiction. But I did visit Hollywood once, though I told no one except Burroughs who I was, of course.

F: Did you actually try out for the role of Tarzan in a movie? And were you rejected because the producer said you weren't the type?

T: No, though I wouldn't be surprised if such a thing were to happen. In any case, I went there too late to try out for the Weissmuller movie Tarzan the Ape Man, and too early for the Buster Crabbe movie Tarzan the Fearless. I did meet Burroughs, secretly of course. I liked him very much. He was gentle and broad-minded and he didn't take himself or his works too seriously. He saw many things wrong in civilization, many sickening things, and he satirized them in his books, you know, but his mockery was Voltaire's, not Swift's. He was never soured or snarly. But since we are now discussing authors, let me indulge my curiosity a moment. I gather that you have been led to me by a fairly elaborate trail. Would you mind explaining to me how you first caught my scent, as it were?

F: I had long suspected that Burroughs, Arthur Conan Doyle, and George Bernard Shaw had all written stories about your family. Each, however, used more or less sophisticated systems of code names for your various relatives. If these codes could be cracked, and used as guides to the right places -- Burke's Peerage, for instance -- they would lead me right to you. And as you see, they have. The reasoning I have employed is long and complex, and I hope you'll be willing to delay a full understanding until I can send you a copy of my book, since our time today is short.

Suffice it to say that I have shown you are closely related to the men who were the living prototypes of Doc Savage, Nero Wolfe, Bulldog Drummond, Sherlock Holmes, Lord Peter Wimsey, Leopold Bloom, and Richard Wentworth (also known as G-8, the Spider, and the Shadow), and a number of other notable characters in nineteenth- and twentieth-century fiction.

T: Indeed.

F: I have also found the explanation for the remarkable, almost superhuman powers exhibited by yourself and many members of your family. As you know, a monument marks the spot where a meteorite hit Wold Newton, Yorks.h.i.+re, in 1795. It just so happened that three coaches were pa.s.sing by when the meteorite struck, and in them were the third Duke of Greystoke and his wife, the rich gentleman Fitzwilliam Darcy of Pemberley House and his wife Elizabeth Bennet -- the heroine of Pride and Prejudice -- Sherlock Holmes's great-grandparents, and a number of others. All the ladies were pregnant. Everybody was exposed to the radiation from the meteorite, ionization accompanies the fall of these, you know. And the radiation must have caused favorable mutations in the party. Otherwise how do you explain the nova of genetic splendor in the descendants of these people, including yourself?

T: I will not say that I am entirely convinced. Nevertheless yours is a very probable theory. My own skeletal bones are half again as thick as normal, which might well indicate that I am a mutant. Moreover, even before I received the immor- tality treatment from the witch doctor, I was developing oddly, though I had no one of my own race to compare myself with at the time. I was six feet tall at eighteen years of age, and grew three more inches in the next two years. I did not have to shave until I was twenty. I have never been ill or had a toothache. So your mutation theory seems likely enough. And now, I'm afraid, our interview is over. May I have the photostats back, please?

F: My time's up? But -- T: I don't need a watch to know how many minutes have pa.s.sed. Good-bye. I won't be seeing you again. May I ask you to remain in this room a few minutes and allow me to leave first? I have already checked out and shall soon be gone.

F: May I ask where you're going?

T: To arrange a seemingly fatal accident. Too many people are wondering why I look so young. One reason I gave you this interview is that I'm disappearing.

Your book won't help anyone find me. But I hold you to your promise not to reveal my true ident.i.ty for ten years. I'll be living incognito with Jane in various countries under various names. Occasionally I'll return to the jungle. There are still vast tracts in the rain forests of Gabon and the Ituri where the only men are a few pygmies. The rain forests may disappear someday. But I think that the worldwide pollution is going to result in a collapse of civilization and a drastic reduction of population. Perhaps the forests will be spared after all, and many of the species now threatened with extinction will come back. In any case, I intend to survive. If I don't, well, death gets us sooner or later, and I won't be able to worry about its being sooner if I'm dead. As I told you, I'll be old anyhow when I'm a hundred and fifty. Send your book to my bankers in Zurich.

Then, Mr. Farmer tells us, he left the room and was gone.

(Author's note: For security reasons, I stated in this interview that I met "Lord Greystoke" in Africa. It's safe now to reveal that the meeting actually took place in Chicago.) s.e.xual Implications of the Charge of the Light BrigadeThis is an extract from "Riders of the Purple Wage," which won a Hugo in 1967. Some might think it a satire on Freudian a.n.a.lysis. Believe me, it's not a bit exaggerated.