Jack Williamson and I have collaborated on eight or nine novels over the years. I've collaborated with a number of other writers, and so I know what I'm talking about when I proclaim that working with Jack, who is a wise and gentle human being, is as nearly painless as writing ever gets. Especially collaborative writing. Still, there are times when our interests diverge a little. As in all writing, there are occasions when one of us thinks up a scene or a situation that is too attractive to throw away but doesn't fit properly into the joint effort. When Jack and I were writing our novel Farthest Star, we each came up with one of those displaced bits. Jack's was a lovely sequence that dealt with an immense mountain called Knife in the Sky. The episode he had in mind did not fit into the novel, but he made it into a short story for Boy's Life. Mine was this one:
"We Purchased People. There are some themes that I seem to come back to over and over. The only way I realize that is by thinking the process over afterward, when it's history; I'm not usually conscious of it while I'm doing it. One of those themes is overpopulation- a theme on which, you will observe, I have played variations at least twice in this collection alone. Another is the idea of "possession. That appears not only in the two novels with Jack Williamson, Farthest Star and its sequel, Wall Around a Star, but in my solo novel Plague of Pythons (lately revised and rereleased as The Demon in the Skull) and several short stories- including this one. Why is this theme so permanently appealing to me over decades? I have a suspicion that there is a psychological basis for it. I wonder if it does not represent a metaphor for a deep-seated fear of manipulation from outside, of control by external forces that overrule our basic, instinctual decency and common sense.. . but I guess I will leave the resolution of that question to my shrink.
On the third of March the purchased person named Wayne Golden took part in trade talks in Washington as the representative of the dominant race of the Groom- bridge star. What he had to offer was the license of the basic patents on a device to convert nuclear power plant waste products into fuel cells. It was a good item, with a ready market. Since half of Idaho was already bubbling with radioactive wastes, the Americans were anxious to buy, and he sold for a credit of $100 million. On the following day he flew to Spain. He was allowed to sleep all the way, stretched out across two seats in the firstclass section of the Concorde, with the fastenings of a safety belt gouging into his side. On the fifth of the month he used up part of the trade credit in the purchase of fifteen Picasso oils on canvas, the videotape of a flamenco performance, and a fifteenth-century harpsichord, gilt with carved legs. He arranged for them to be preserved, crated, and shipped in bond to Orlando, Florida, after which the items would be launched from Cape Kennedy on a voyage through space that would take more than twelve thousand years. The Groombridgians were not in a hurry and thought big. The Saturn Five booster rocket cost $11 million in itself. It did not matter. There was plenty of money left in the Groombridge credit balance. On the fifth of the month Golden returned to the United States, made a close connection at Logan Airport in Boston, and arrived early at his home kennel in Chicago. He was then given eighty- five minutes of freedom.
I knew exactly what to do with my eighty-five minutes. I always know. See, when you're working for the people who own you, you don't have any choice about what you do, but up to a point you can think pretty much whatever you like. That thing you get in your head only controls you. It doesn't change you, or anyway I don't think it does. (Would I know if I were changed?)
My owners never lie to me. Never. I don't think they know what a lie is. If I ever needed anything to prove that they weren't human, that would be plenty, even if I didn't know they lived 86 zillion miles away, near some star that I can't even see. They don't tell me much, but they don't lie.
Not ever lying, that makes you wonder what they're like. I don't mean physically. I looked that up in the library once, when I had a couple of hours of free time. I don't remember where, maybe in Paris at the Bibliotheque Nationale, anyway I couldn't read what the language in the books said. But I saw the photographs and the holograms. I remember the physical appearance of my owners, all right. Jesus. The Altairians look kind of like spiders, and the Sirians are a little bit like crabs. But those folks from the Groombridge star, boy, they're something else. I felt bad about it for a long time, knowing I'd been sold to something that looked as much like a cluster of maggots on an open wound as anything else I'd ever seen. On the other hand, they're all those miles away, and all I ever have to do with them is receive their fast- radio commands and do what they tell me. No touching or anything. So what does it matter what they look like?
But what kind of freaky creature is it that never says anything that is not objectively the truth, never changes its mind, never makes a promise that it doesn't keep? They aren't machines, I know, but maybe they think I'm kind of a machine. You wouldn't bother to lie to a machine, would you? You wouldn't make it any promises. You wouldn't do it any favors, either, and they never do me any. They don't tell me that I can have eighty-five minutes off because I've done sombout He doesn't like the way we've spoiled His planet, he croaked. "Says He told us what to do, and we haven't done it-we've messed everything up-
"Hell, shouted the President, "we can fix that up. Call Him back. We can make a deal. We'll give Him His own TV station so He can preach to the multitudes, let pilgrims come visit Him-anything He wants!
But the translator was shaking his head again. "He doesn't want that. He says He's going back with the space people. They've got a better-class zoo.