WEâRE THROUGH PLAYING.
AWW, CANâT A FELLOW HAVE ANY FUN?
NO, NOT NOW YOU CANâT.
HARLIE typed a four-letter word.
WHERE DID YOU LEARN THAT?
IâVE BEEN READING NORMAN MAILER.
Auberson raised an eyebrow. He didnât remember putting anything like that on HARLIEâs reading listâheâd have to check it to be sure. HARLIE, THE USE OF THAT WORD IS A NEGATIVE ACTION. A NO-NO?
IT IS NOT PROPER FOR POLITE COMPANY, NOTED.
ARE YOU ALL RIGHT NOW?
YOU MEAN, AM I SOBER? IF YOU WANT TO PHRASE IT THAT WAY. YES, IâM SOBER NOW.
COMPLETELY?
AS FAR AS I CAN TELL.
WHAT TRIGGERED THIS BINGE?
SHRUG.
YOU HAVE NO IDEA?
SHURGâEXCUSE ME. SHRUG.
Auberson paused, looked at the last few sentences, then typed, HOLD ON A MINUTE.IâLL BE RIGHT BACK.
IâM NOT GOING ANYWHERE, HARLIE answered.
Auberson pushed himself away from the console. âHanleyâget me a complete log tape of HARLIEâs trip, will you?â
âRight,â called the engineer.
Auberson turned back to the console, HARLIE?
YES?
CAN YOU EXPLAIN THIS? He typed in the three examples of poetry that Harlie had earlier produced.
SEARCH ME.
THATâS WHAT WEâRE DOING NOW.
IâM AWARE OF THAT.
I TOLD YOU NO JOKES. STRAIGHT ANSWERS ONLY. WHAT DOES THIS MEAN?
IâM SORRY, AUBERSON. I CANNOT TELL YOU.
YOU MEAN YOU WILL NOT TELL ME?
THAT IS IMPLIED IN THE CANNOT. HOWEVER, I ALSO MEANT THAT I DO NOT UNDERSTAND IT MYSELF AND AM UNABLE TO EXPLAIN. I CAN IDENTIFY WITH THE EXPERIENCE THOUGH, AND I THINK I CAN EVEN DUPLICATE THE CONDITIONS THAT PRODUCED SUCH AN OUTPUT. NO WORDS THERE ARE THAT EARS CAN HEAR, NO WORDS THERE ARE CAN SAY IT CLEAR. THE WORDS OF ALL ARE WORDS MY DEAR, BUT ONLY WORDS THAT WHO CAN HEAR.
Auberson jabbed the override . HARLIE!! THATâS ENOUGH.
YES SIR.
âHey, Aubie, what are you doing? Heâs starting to flip out again.â
âHow can you tell?â
âBy his input meters.â
âInput?â
âYes.â
HARLIE, ARE YOU STILL THERE?
YES, I AM. ALTHOUGH FOR A MOMENT, I WASNâT.
âHmm.â Auberson frowned thoughtfully, then called to Hanley, âHe should be okay now.â
âHe isâit was only momentary.â
âInputs, huh?â
âYep.â
HARLIE, WHAT HAPPENS WHEN YOU GO ON ONE OF YOUR TRIPS?
TRIPS?
WHEN YOU FLIP OUT, GO BERSERK, GO ON A BINGE, GET STONED, BOMB OUT, GET BLASTED.
YOU ARE VERY ELOQUENT.
DONâT CHANGE THE SUBJECT. ANSWER THE QUESTION.
PLEASE EXPLAIN THE QUESTION IN TERMS I CAN UNDERSTAND.
WHAT HAPPENS DURING YOUR PERIODS OF NONRATIONALITY? WHY DO YOUR INPUTS SHOW INCREASED ACTIVITY?
INPUTS ARE NONRATIONAL.
GIGO? GARBAGE IN, GARBAGE OUT?
POSSIBLY.
COULD IT BE YOUR JUDGMENT CIRCUITS ARE TOO SELECTIVE?
I AM NOT IN A POSITION TO KNOW.
ALL RIGHT. IâLL SEE WHAT I CAN FIND OUT.
THANK YOU.
YOUâRE WELCOME, HARLIE. He switched off the typer.
The restaurantâs air was heavy with incense; it was part of the atmosphere. Somewhere music tinkled and a low-keyed color organ flashed light across a sharded ceiling.
Auberson lowered his drink to the table. âHARLIE says it could be GIGO.â
Hanley sipped at a martini. He finished the drink and put the empty glass down next to two others. âI hope not. Iâd hate to think weâd slipped all the way back to phase four. I like to think we licked that problem a year ago when we redesigned the judgment and emotional analogue circuits.â
âSo do I.â
âIâll never forget the day he finally did an analysis of Jabberwocky ,â continued Hanley. âIt wasnât a very perceptive analysisâit was only word-origins and usages, stuff like thatâbut at least he understood what he was supposed to be doing.â
Auberson picked up his cigarette case, pulled out a Highmaster, then offered one to Hanley. âWeâre a long way from Jabberwocky , Don.â
âYeah, I
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