He wanted to know, first, the difference between a dollar bill printed by the Unistat Treasury and a dollar bill printed by a gang of counterfeiters.

Everybody got excited, and most of them got angry, in the course of trying to make this distinction clear to the extraterrestrial, who was very literal and logical, and did not understand anything they took for granted until it was explained literally and logically.

By the time the extraterrestrial was willing to grant that there was an agreed-upon difference between the two bills created by social consensus, a few people had left, saying, "It's just an elaborate put-on."

But the others, who stuck it out, were next confronted with a dollar bill hung in a museum as "found" art. Williams, the extraterrestrial, wanted to know whether its value was the same as, greater than, or less than it had been before being hung in the museum.

More people lost their tempers in the course of his discussion.

But Williams persisted. Still playing extraterrestrial, he wanted to know if it made any difference if the dollar hung in the museum as "found" art had been printed by the Treasury or by the criminal gang.

After a few minutes of this topic most of the people in the room were jumping up and down like the Ambassador who found the Rehnquist on the stairs.

Williams had no mercy. He next wanted them to explain the difference between any or all of the above and an exact duplicate of any or all of them painted by Roy Lichtenstein and exhibited as Pop Art.

After a half hour more he pointed out that they were arguing among themselves even more than they were attempting to explain these mysteries to him. He also mentioned, not too cruelly, that many of them had arrived at the state where they seemed to believe their definitions would become more convincing if they just repeated them at a louder decibel level.

Williams then gave up the extraterrestrial game and tried to restore order. He became droll and told them the old story of how Picasso, asked to identify the real Picas-sos in a group of possible fakes, had put one of his own canvases among the fraudulent group. "But," an art dealer among those present protested, "I saw you paint that one myself, Pablo."

"No matter," said the Great Man imperturbably, "I can fake a Picasso as well as anybody."

He reminded them that Andy Warhol kept a closet full of Campbell's soup cans, and gave autographed cans to people he liked so they could own "a genuine Warhol." He pointed out, after the laugh subsided, that neither extraterrestrials nor terrestrials could agree on the difference in value between a Treasury dollar signed by Warhol and thereby becoming "a genuine Warhol," a counterfeit dollar signed by Warhol for the purpose-giving "a genuine Warhol" to a friend, a Treasury dollar with Warhol's signature forged by El Mir, a Treasury dollar with Warhol's signature forged by an unknown criminal, and a counterfeit dollar with Warhol's signature forged by William S. Burroughs, the founder of Neo-Cubist painting.

He said that Ethnomethodologists knew that the border between the Real and the Unreal was not fixed, but just marked the last place where rival gangs of shamans had fought each other to a stalemate. He said the border had shifted after each major conceptual struggle, as national borders shift after military struggles. He defined everybody who attempted to define Reality, including himself, as a conscious or unconscious co-conspirator with some gang of shamans who are trying to impose their game on the rest of us.

He said that both the economics of art and the art of economics were determined by shamans, whether they knew themselves as shamans or not.

"Crazy as a bedbug," said the last man to quit the room.

The remainder were staring at Williams with devout awe. They felt that he had removed great murky shadows from their minds and brought them forward into the light.

Williams had made some Converts.

He settled back in an easy chair-he had been standing in his Full Professor lecture-room style through most of this-and got chatty and informal. He told them the little-known story of Pope Stephen's parable to the Spanish Cardinal who had told him that "seeking for the Real" was pointless since the Real is palpably right in front of our noses.

"Everybody knows," Pope Stephen had said, "that I studied singing and medicine before I decided to make the priesthood my life's work. What few know is that I also considered becoming a novelist. I often wonder, myself, if I ever abandoned that last ambition. Sometimes I feel like a novelist pretending to be a Pope, to see what it's like. And sometimes I even think the whole Church is a very old novel which I've revised and modernized. And, my reverend brother in Christ, sometimes I even think that I'm not alone in this novel-writing business; I think that every man, woman, and child on this planet is writing a novel inside their heads, all day long, every day-editing, rewriting, touching things up, improving a page here and throwing a page out somewhere else. The only difference is that when I write a novel, it becomes an Encyclical, and is therefore Reality for millions of believers."

Williams now had five True Believers out of the thirty persons he had called together. The five, together with Williams, founded the W. F. Bach Society that night, and set out to impose their definition of Art on the rest of the world.

They began by finding and financing Orson Welles, an obese genius who might have been the world's greatest film director if he had only been allowed to direct films.

Welles was not allowed to direct films because he had made the mistake, his first time out, of making a movie about Charles Foster Hearst, the richest and most powerful of the Communist clique who ruled Unistat. Welles changed the name, of course, and called his movie character William Randolph Kane, but few were deceived by this, and Hearst certainly wasn't.

The movie had a scene, at the beginning, in which a conservative banker said bluntly that "Kane" (Hearst) was a Communist. It went on to make a big mystery about the word "Rosebud," which referred to General Crowley's system of "Rosy Cross" Cabalistic magick which the Communists were using to make money out of nothing. It exposed, almost blatantly, how Unistat was actually governed.

Welles was blacklisted, and spent the rest of his life wandering around the world playing bit parts in films by other directors.

The W. F. Bach Society financed Welles in the making of his second film, Art Is What You Can Get Away With, which was a bold glorification of El Mir.

Next, the W. F. Bach cabal financed a new literary journal, Passaic Review, which they advertised so widely that everybody with any pretense to being an intellectual had to read it.

The Passaic Review heaped scorn and invective on the established literary idols of the time-Simon Moon, the neo-surrealist novelist; Gerald Ford, the "country-and-western" poet; Norman Mailer; Robert Heinlein; Tim Hildebrand; and so on. They also denounced all the alleged "greats" of the first part of the century, like H. P. Lovecraft, Henry James, T. S. Eliot, and Robert Putney Drake.

They established their own pantheon of "great" writers, which included William Butler Yeats (an obscure Irish schoolteacher nobody had ever heard of), Olaf Stapledon, Arthur Flegenheimer, and Jonathan Latimer.

After only two years of bombardment by the erudite and authoritative-sounding articles in Passaic Review, most self-declared intellectuals were seriously comparing Yeats with Eliot and granting that some of Stapledon's novels were as good as anything by James or Drake.

All of this was an experiment, actually. Blake Williams had not believed everything he told the founders of the W. F. Bach Society. He was convinced that a great deal of what passes for Value was created, not by labor as the Marxists thought, nor by supply-and-demand as the Free Market economists claimed, but by what he as an anthropologist recognized as shamanism.