Slow Sculpture

Slow Sculpture by Theodore Sturgeon

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Authors: Theodore Sturgeon
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see his lips move, though she could hear nothing in thismighty bellow of sound. She knew it, though, and heard it clearly in her mind: “What’s ’at noice?”
    The beam overhead grumbled and again she was showered with plaster. She batted it off her shoulders, and whimpered. A great flame must have burst from the roof above her just then, for through the window she saw a brilliant glare reflected from the white clapboards of the garage wall outside. The glare tugged at her—
jump!
—and besides, her robe.…
    The beam thundered and began to fall. Now she must make a choice, in microseconds. The swiftest thought would not be fast enough to weigh and consider and decide; all that could matter now was what was inside her, throwing switches (some so worn and easy to move!). A giant was throwing them, and he was strong; his strength was a conditioning deeper than
thou shalt not kill;
he was a lesson learned before she had learned to love God, or to walk, or to talk. He was her mother’s authority and the fear of all the hairy, sweaty, dangerous mysteries from which she had shielded herself all her life; and his name and title were Cover Thyself! With him, helping him, was the reflexive Save Thyself! and against these—Robin, whom she loved (but love is what she felt, once, for a canary, and once for a Raggedy Ann doll) and her sense of duty to Sue Martin (but so lightly promised, and at the time such a meaningless formality). There could be no choice in such a battle, though she must live with the consequences for all her years.
    Then—
    —it was as if a mighty voice had called
Stop!
and the very flames froze. Half a foot above her hung the jagged end of the burning beam, and chunks of plaster, splinters and scraps of shattered lath and glowing joist stopped in midair. Yet during this sliver of a fraction of time, she knew that the phenomenon was a mental something, a figment, and the idea of time-cessation only a clumsy effort of her mind’s to account for what was happening.
    Save Thyself was
still there, hysterical hands clutching for the controls, but
Cover Thyself
disappeared into the background. Save herself she would, but it would be on new terms. She was in the grip of a reflex of reflexes, one which took into consideration all the factorsa normal reflex would, to the end goal of survival. But along with these, it called up everything Reta Schmidt had ever done, everything she had been. In a single soundless flash, a new kind of light was thrown into every crevice and cranny of her existence. It was her total self now, reacting to a total situation far wider than that which obtained here in this burning room. It illuminated even the future—that much of it which depended upon these events, between them and the next probable major “crossroads.” It canceled past misjudgments and illogics and replaced them with rightness, even for the times she had known what was right and had done otherwise. It came and was gone even while she leaped, while she took two bounding steps across the floor and the beam crashed and crushed and showered sparks where she had been standing.
    She scooped up the child and ran down the hall, through the foyer, into the kitchen. It was dark there, thick with swirling smoke, but the glass panels on the kitchen door glared with some unfamiliar light from outdoors. She began to cough violently, but grimly aimed at the light and drove ahead. It was eclipsed suddenly by a monstrous shadow, and suddenly it exploded inward. There were lights out there she had never seen before, and half-silhouetted in the broken doorway was a big man with a gleaming helmet and an axe. She tried to call, or perhaps it was only a scream, but instead she went into a spasm of coughing.
    “Somebody in here?” asked the man. A beam of light, apparently from the street, lit up the shield on the front of his helmet as he leaned forward. He stepped inside. “Whew! Where are you?”
    She went blindly to him and pushed

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