The Ultimate Hitchhiker's Guide Part 62

"A whelk's chance in a supernova," repeated Ford without losing momentum. "The..."

"What's a whelk got to do with a supernova?" said Arthur.

"It doesn't," said Ford levelly, "stand a chance in one."

He paused to see if the matter was now cleared up. The freshly puzzled looks clambering across Arthur's face told him that it wasn't.

"A supernova," said Ford as quickly and as clearly as he could, "is a star which explodes at almost half the speed of light and burns with the brightness of a billion suns and then collapses as a super-heavy neutron star. It's a star which burns up other stars, got it? Nothing stands a chance in a supernova."

"I see," said Arthur.

"The..."

"So why a whelk particularly?"

"Why not a whelk? Doesn't matter."

Arthur accepted this, and Ford continued, picking up his early fierce momentum as best he could.

"The point is," he said, "that people like you and me, Slartibartfast, and Arthur-particularly and especially Arthur-are just dilletantes, eccentrics, layabouts, fartarounds if you like."

Slartibartfast frowned, partly in puzzlement and partly in umbrage. He started to speak.

"-..." is as far as he got.

"We're not obsessed by anything, you see," insisted Ford.

"And that's the deciding factor. We can't win against obsession. They care, we don't. They win."

"I care about lots of things," said Slartibartfast, his voice trembling partly with annoyance, but partly also with uncertainty.

"Such as?"

"Well," said the old man, "life, the Universe. Everything, really. Fjords."

"Would you die for them?"

"Fjords?" blinked Slartibartfast in surprise. "No."

"Well then."

"Wouldn't see the point, to be honest."

"And I still can't see the connection," said Arthur, "with whelks."

Ford could feel the conversation slipping out of his control, and refused to be sidetracked by anything at this point.

"The point is," he hissed, "that we are not obsessive people, and we don't stand a chance against..."

"Except for your sudden obsession with whelks," pursued Arthur, "which I still haven't understood."

"Will you please leave whelks out of it?"

"I will if you will," said Arthur. "You brought the subject up."

"It was an error," said Ford, "forget them. The point is this."

He leant forward and rested his forehead on the tips of his fingers.

"What was I talking about?" he said wearily.

"Let's just go down to the party," said Slartibartfast, "for whatever reason." He stood up, shaking his head.

"I think that's what I was trying to say," said Ford.

For some unexplained reason, the teleport cubicles were in the bathroom.

Chapter 15.

Time travel is increasingly regarded as a menace. History is being polluted.

The Encyclopedia Galactica has much to say on the theory and practice of time travel, most of which is incomprehensible to anyone who hasn't spent at least four lifetimes studying advanced hypermathematics, and since it was impossible to do this before time travel was invented, there is a certain amount of confusion as to how the idea was arrived at in the first place. One rationalization of this problem states that time travel was, by its very nature, discovered simultaneously at all periods of history, but this is clearly bunk.

The trouble is that a lot of history is now quite clearly bunk as well.

Here is an example. It may not seem to be an important one to some people, but to others it is crucial. It is certainly significant in that it was the single event which caused the Campaign for Real Time to be set up in the first place (or is it last? It depends which way round you see history as happening, and this too is now an increasingly vexed question).

There is, or was, a poet. His name was Lallafa, and he wrote what are widely regarded throughout the Galaxy as being the finest poems in existence, the Songs of the Long Land.

They are/were unspeakably wonderful. That is to say, you couldn't speak very much of them at once without being so overcome with emotion, truth and a sense of wholeness and oneness of things that you wouldn't pretty soon need a brisk walk round the block, possibly pausing at a bar on the way back for a quick gla.s.s of perspective and soda. They were that good.

Lallafa had lived in the forests of the Long Lands of Effa. He lived there, and he wrote his poems there. He wrote them on pages made of dried habra leaves, without the benefit of education or correcting fluid. He wrote about the light in the forest and what he thought about that. He wrote about the darkness in the forest, and what he thought about that. He wrote about the girl who had left him and precisely what he thought about that.

Long after his death his poems were found and wondered over. News of them spread like morning sunlight. For centuries they illuminated and watered the lives of many people whose lives might otherwise have been darker and drier.

Then, shortly after the invention of time travel, some major correcting fluid manufacturers wondered whether his poems might have been better still if he had had access to some high-quality correcting fluid, and whether he might be persuaded to say a few words on that effect.

They travelled the time waves, they found him, they explained the situation-with some difficulty-to him, and did indeed persuade him. In fact they persuaded him to such an effect that he became extremely rich at their hands, and the girl about whom he was otherwise destined to write which such precision never got around to leaving him, and in fact they moved out of the forest to a rather nice pad in town and he frequently commuted to the future to do chat shows, on which he sparkled wittily.

He never got around to writing the poems, of course, which was a problem, but an easily solved one. The manufacturers of correcting fluid simply packed him off for a week somewhere with a copy of a later edition of his book and a stack of dried habra leaves to copy them out on to, making the odd deliberate mistake and correction on the way.

Many people now say that the poems are suddenly worthless. Others argue that they are exactly the same as they always were, so what's changed? The first people say that that isn't the point. They aren't quite sure what the point is, but they are quite sure that that isn't it. They set up the Campaign for Real Time to try to stop this sort of thing going on. Their case was considerably strengthened by the fact that a week after they had set themselves up, news broke that not only had the great Cathedral of Chalesm been pulled down in order to build a new ion refinery, but that the construction of the refinery had taken so long, and had had to extend so far back into the past in order to allow ion production to start on time, that the Cathedral of Chalesm had now never been built in the first place. Picture postcards of the cathedral suddenly became immensely valuable.

So a lot of history is now gone for ever. The Campaign for Real Timers claim that just as easy travel eroded the differences between one country and another, and between one world and another, so time travel is now eroding the differences between one age and another. "The past," they say, "is now truly like a foreign country. They do things exactly the same there."

Chapter 16.

Arthur materialized, and did so with all the customary staggering about and clasping at his throat, heart and various limbs which he still indulged himself in whenever he made any of these hateful and painful materializations that he was determined not to let himself get used to.

He looked around for the others.

They weren't there.

He looked around for the others again.

They still weren't there.

He closed his eyes.

He opened them He looked around for the others.

They obstinately persisted in their absence.

He closed his eyes again, preparatory to making this completely futile exercise once more, and because it was only then, whilst his eyes were closed, that his brain began to register what his eyes had been looking at whilst they were open, a puzzled frown crept across his face.

So he opened his eyes again to check his facts and the frown stayed put.

If anything, it intensified, and got a good firm grip. If this was a party it was a very bad one, so bad, in fact, that everybody else had left. He abandoned this line of thought as futile. Obviously this wasn't a party. It was a cave, or a labyrinth, or a tunnel of something-there was insufficient light to tell. All was darkness, a damp s.h.i.+ny darkness. The only sounds were the echoes of his own breathing, which sounded worried. He coughed very slightly, and then had to listen to the thin ghostly echo of his cough trailing away amongst winding corridors and sightless chambers, as of some great labyrinth, and eventually returning to him via the same unseen corridors, as if to say... "Yes?"

This happened to every slightest noise he made, and it unnerved him. He tried to hum a cheery tune, but by the time it returned to him it was a hollow dirge and he stopped.

His mind was suddenly full of images from the story that Slartibartfast had been telling him. He half-expected suddenly to see lethal white robots step silently from the shadows and kill him. He caught his breath. They didn't. He let it go again. He didn't know what he did expect.

Someone or something, however, seemed to be expecting him, for at that moment there lit up suddenly in the dark distance an eerie green neon sign.

It said, silently: YOU HAVE BEEN DIVERTED.

The sign flicked off again, in a way which Arthur was not at all certain he liked. It flicked off with a sort of contemptuous flourish. Arthur then tried to a.s.sure himself that this was just a ridiculous trick of his imagination. A neon sign is either on or off, depending on whether it has electricity running through it or not. There was no way, he told himself, that it could possibly effect the transition from one state to the other with a contemptuous flourish. He hugged himself tightly in his dressing gown and s.h.i.+vered, nevertheless.

The neon sign in the depths now suddenly lit up, bafflingly, with just three dots and a comma. Like this: ...,.

Only in green neon.

It was trying, Arthur realized after staring at this perplexedly for a second or two, to indicate that there was more to come, that the sentence was not complete. Trying with almost superhuman pedantry, he reflected. Or at least, inhuman pedantry.

The sentence then completed itself with these two words: ARTHUR DENT.

He reeled. He steadied himself to have another clear look at it. It still said ARTHUR DENT, so he reeled again.

Once again, the sign flicked off, and left him blinking in the darkness with just the dim red image of his name jumping on his retina.

WELCOME, the sign now suddenly said.

After a moment, it added: I DON'T THINK.

The stone-cold fear which had been hovering about Arthur all this time, waiting for its moment, recognized that its moment had now come and pounced on him. He tried to fight it off. He dropped into a kind of alert crouch that he had once seen somebody do on television, but it must have been someone with stronger knees. He peered huntedly into the darkness.

"Er, h.e.l.lo?" he said.

He cleared his throat and said it again, more loudly and without the "er". At some distance down the corridor it seemed suddenly as if somebody started to beat on a ba.s.s drum.

He listened to it for a few seconds and realized that it was just his heart beating.

He listened for a few seconds more and realized that it wasn't his heart beating, it was somebody down the corridor beating on a ba.s.s drum.

Beads of sweat formed on his brow, tensed themselves, and leapt off. He put a hand out on the floor to steady his alert crouch, which wasn't holding up very well. The sign changed itself again. It said: DO NOT BE ALARMED.

After a pause, it added: BE VERY VERY FRIGHTENED, ARTHUR DENT.

Once again it flicked off. Once again it left him in darkness. His eyes seemed to be popping out of his head. He wasn't certain if this was because they were trying to see more clearly, or if they simply wanted to leave at this point.

"h.e.l.lo?" he said again, this time trying to put a note of rugged and aggressive self-a.s.sertion into it. "Is anyone there?"

There was no reply, nothing.

This unnerved Arthur Dent even more than a reply would have done, and he began to back away from the scary nothingness. And the more he backed away, the more scared he became. After a while he realized that the reason for this was because of all the films he had seen in which the hero backs further and further away from some imagined terror in front of him, only to b.u.mp into it coming up from behind.

Just then it suddenly occurred to him to turn round rather quickly.

There was nothing there.

Just blackness.

This really unnerved him, and he started to back away from that, back the way he had come.

After doing this for a short while it suddenly occurred to him that he was now backing towards whatever it was he had been backing away from in the first place.

This, he couldn't help thinking, must be a foolish thing to do. He decided he would be better off backing the way he had first been backing, and turned around again.

It turned out at this point that his second impulse had been the correct one, because there was an indescribably hideous monster standing quietly behind him. Arthur yawed wildly as his skin tried to jump one way and his skeleton the other, whilst his brain tried to work out which of his ears it most wanted to crawl out of.

"Bet you weren't expecting to see me again," said the monster, which Arthur couldn't help thinking was a strange remark for it to make, seeing as he had never met the creature before. He could tell that he hadn't met the creature before from the simple fact that he was able to sleep at nights. It was... it was... it was...

Arthur blinked at it. It stood very still. It did look a little familiar.