In the dawns that we had begun to remember, one did not become aware of the light itself, but of the separate objects touched by the light, the things, the world. They were there, visible again, as if visibility were their own property, not a gift from the rising sun.

In this dawn, there was nothing but the light itself. Indeed there was not even light, we would have said, but only color: blue.

There was no compass bearing to it. It was not brighter in the east. There was no east or west. There was only up and down, below and above. Below was dark. The blue light came from above. Brightness fell. Beneath, where the shaking thunder had stilled, the brightness died away through violet into blindness.

We, arising, watched light fall.

In a way it was more like an ethereal snowfall than like a sunrise. The light seemed to be in discrete particles, infinitesimal flecks, slowly descending, faint, fainter than flecks of fine snow on a dark night, and tinier; but blue. A soft, penetrating blue tending to the violet, the color of the shadows in an iceberg, the color of a streak of sky between gray clouds on a winter afternoon before snow: faint in intensity but vivid in hue: the color of the remote, the color of the cold, the color farthest from the sun.

On Saturday night they held a scientific congress in our room. Clara and Max came, of course, and the engineer Phil Drum and three others who had worked on the sun tap. Phil Drum was very pleased with himself because he had actually built one of the things, a solar cell, and brought it along. I don't think it had occurred to either Max or Simon to build one. Once they knew it could be done they were satisfied and wanted to get on with something else. But Phil unwrapped his baby with a lot of flourish, and people made remarks like, "Mr. Watson, will you come here a minute," and "Hey, Wilbur, you're off the ground!" and "I say, nasty mould you've got there, Alec; why don't you throw it out?" and "Ugh, ugh, burns, burns, wow, ow," the latter from Max, who does look a little pre-Mousterian. Phil explained that he had exposed the cell for one minute at four in the afternoon up in Washington Park during a light rain. The lights were back on on the West Side since Thursday, so we could test it without being conspicuous.

We turned off the lights, after Phil had wired the table-lamp cord to the cell. He turned on the lamp switch. The bulb came on, about twice as bright as before, at its full forty watts—city power of course was never full strength. We all looked at it. It was a dime-store table lamp with a metallized gold base and a white plasticloth shade.

"Brighter than a thousand suns," Simon murmured from the bed.

"Brighter than a thousand suns," Simon murmured from the bed.

"It really wouldn't be any good at all for making bombs with," Max said dreamily.

"Bombs," Phil Drum said with scorn. "Bombs are obsolete. Don't you realize that we could move a mountain with this kind of power? I mean pick up Mount Hood, move it, and set it down. We could thaw Antarctica, we could freeze the Congo. We could sink a continent. Give me a fulcrum and I'll move the world. Well, Archimedes, you've got your fulcrum. The sun."

"Christ," Simon said, "the radio, Belle!"

The bathroom door was shut and I had put cotton over the bug, but he was right; if they were going to go ahead at this rate, there had better be some added static. And though I liked watching their faces in the clear light of the lamp—they all had good, interesting faces, well worn, like the handles of wooden tools or the rocks in a running stream—I did not much want to listen to them talk tonight. Not because I wasn't a scientist; that made no difference. And not because I disagreed or disapproved or disbelieved anything they said. Only because it grieved me terribly, their talking. Because they couldn't rejoice aloud over a job done and a discovery made, but had to hide there and whisper about it. Because they couldn't go out into the sun.

I went into the bathroom with my viola and sat on the toilet lid and did a long set of sautille exercises. Then I tried to work at the Forrest trio, but it was too assertive. I played the solo part from Harold in Italy, which is beautiful, but it wasn't quite the right mood either. They were still going strong in the other room. I began to improvise.

After a few minutes in E-minor the light over the shaving mirror began to flicker and dim; then it died. Another outage. The table lamp in the other room did not go out, being connected with the sun, not with the twenty-three atomic fission plants that power the Greater Portland Area. Within two seconds somebody had switched it off too, so that we shouldn't be the only window in the West Hills left alight; and I could hear them rooting for candles and rattling matches. I went on improvising in the dark. Without light, when you couldn't see all the hard shiny surfaces of things, the sound seemed softer and less muddled. I went on, and it began to shape up. All the laws of harmonics sang together when the bow came down. The strings of the viola were the cords of my own voice, tightened by sorrow, tuned to the pitch of joy. The melody created itself out of air and energy, it raised up the valleys, and the mountains and hills were made low, and the crooked straight, and the rough places plain. And the music went out to the dark sea and sang in the darkness, over the abyss.

When I came out they were all sitting there and none of them was talking. Max had been crying. I could see little candle flames in the tears around his eyes. Simon lay flat on the bed in the shadows, his eyes closed. Phil Drum sat hunched over, holding the solar cell in his hands.

I loosened the pegs, put the bow and the viola in the case, and cleared my throat. It was embarrassing. I finally said, "I'm sorry."

One of the women spoke: Rose Abramski, a private student of Simon's, a big shy woman who could hardly speak at all unless it was in mathematical symbols. "I saw it," she said. "I saw it. I saw the white towers, and the water streaming down their sides, and running back down to the sea. And the sunlight shining in the streets, after ten thousand years of darkness."

"I heard them," Simon said, very low, from the shadow. "I heard their voices."

"Oh, Christ! Stop it" Max cried out, and got up and went blundering out into the unlit hall, without his coat. We heard him running down the stairs.

"Oh, Christ! Stop it" Max cried out, and got up and went blundering out into the unlit hall, without his coat. We heard him running down the stairs.

After a long silence Phil Drum answered, "We have the power to doit."

"What else do we need?" Simon said. "What else do we need, besides power?"

Nobody answered him.

The blue changed. It became brighter, lighter, and at the same time thicker: impure. The ethereal luminosity of blue-violet turned to turquoise, intense and opaque. Still we could not have said that everything was now turquoise colored, for there were still no things. There was nothing, except the color of turquoise.

The change continued. The opacity became veined and thinned. The dense, solid color began to appear translucent, transparent. Then it seemed as if we were in the heart of a sacred jade, or the brilliant crystal of a sapphire or an emerald.

As at the inner structure of a crystal, there was no motion. But there was something, now, to see. It was as if we saw the motionless, elegant inward structure of the molecules of a precious stone. Planes and angles

appeared about us, shadowless and clear in that even, glowing, blue-green light.

These were the walls and towers of the city, the streets, the windows, the gates.