As the smoldering sun passed the celestial equator going north to south, numberless portents revealed themselves: a two-headed calf was born in Dorset near the little town of Blandford; wrecked ships rose from the depths of the Marianas Trench; everywhere, children's eyes grew old and very wise; over the Indian state of Maharashtra clouds assumed the shapes of warring armies; leprous moss quickly grew on the south side of Celtic megaliths and then died away in minutes; in Greece the pretty little gillyflowers began to bleed and the earth around their clusters gave off a putrescent smell; all sixteen of the ominous dirae designated by Julius Caesar in the first century B.C., including the spilling of salt and wine, stumbling, sneezing, and the creaking of chairs, made themselves apparent; the aurora australis appeared to the Maori; a horned horse was seen by Basques as it ran through the streets of Vizcaya. Numberless other auguries.
And the doorway to Hell opened.
The best thing about the passage quoted above is that we can feel Ellison taking off, pleased with the effect and balance of the language and the particulars described, pushing it, having fun with it. Among those who escape hell during the brief period that the door stands open are Jack the Ripper, Caligula, Charlotte Corday, Edward Teach ( "beard still bristling but with the ribbons therein charred and colorless . . . laughing hideously"), Burke and Hare, and George Armstrong Custer.
All are sucked back except for Ellison's Lizzie Borden look-alike, Margaret Thrushwood. She makes her way to heaven, confronts Doc . . . and is sent back by God when her realization of the hypocrisy at work causes heaven to begin cracking and peeling around the edges. The pool of water Doc is soaking leis feet in when Margaret drags her blackened, blistered body over to him begins to fill up with lava.
Margaret returns to hell, realizing that she can take it, while poor Doc, who she still manages somehow to love, could not. "There are some people who just shouldn't be allowed to fool around with love," she tells God in the story's best line. Hitler, meanwhile, is still painting his roses just inside the portal to hell (he has been too absorbed to even think about escape when the door opened). God takes one look, Ellison tells us, and "could not wait to get back to find Michelangelo, to tell him about the grandeur They had beheld, there in that most unlikely of places.” The grandeur Ellison wants us to see, of course, is not Hitler's roses but Margaret's ability to love and to go on believing ( if only in herself) in a world where the innocent are punished and the guilty rewarded. As in most of Ellison's fiction, the horror revolves around some smelly injustice; its antidote lies most frequently in the human ability of his protagonists to surmount the unfair situation, or, lacking that, at least to reach a modus vivendi with it.
Most of these stories are fables-an uneasy word in a period of literature when the concept of literature is seen to be a simplistic one-and Ellison uses the word frankly in several of his introductions to individual stories. In a letter to me, dated December 28, 1979, lie discusses the use of the fable in fantasy fiction that has been deliberately laid against the backdrop of the modern world: "Strange Wine continues-as I see it in retrospect-my perception that reality and fantasy have exchanged positions in contemporary society. If there is a unified theme in the stories, it is that. Continued from the work I have done in the previous two books, Approaching Oblivion (1974) and Deathbird Stories (1975) , it tries to provide a kind of superimposed precontinuum by the use and understanding of which the reader who leads even a lightly examined existence can grasp hold of his/her life and transcend his/her fate by understanding it.
"That's all pretty high-flown stuff; but what I mean, simply put, is that the workaday events that command our attention are so big, so fantastic, so improbable that no one who isn't walking the parapet of madness can cope with what's coming down.*
*Which reminds me of something that happened at the 1979 World Fantasy Convention. A UPI reporter asked me the eternal question: "Why do people read this horror stuff?" My reply was essentially Harlan's; you try to catch the madness in a bell-jar so you can cope with it a little better. People who read horror fiction are warped, I told the reporter; but if you don't have a few warps in your record, you're going to find it impossible to cope with life in the last quarter of the twentieth century. The headline on the UPI squib that came down the wire and into newspapers coast to coast was predictable enough, I suppose, and exactly what I deserved for presuming to speak metaphorically to a newspaperman: KING SAYS HIS FANS ARE WARPED. Open mouth; Insert foot; Close mouth.
"The Tehran hostages, the Patty Hearst kidnapping, the Howard Hughes fake biography and subsequent death, the Entebbe raid, the murder of Kitty Genovese, the Jonestown massacre, the H-bomb alert in Los Angeles several years ago, Watergate, the Hillside Strangler, the Manson Family, the oil conspiracy: all of them are melodramatic and excessive beyond the ability of a writer of mimetic fiction to capture in fiction without being ridiculous. Yet all of them happened. If you or I were to attempt writing a novel about such things, before the fact, we'd be laughed out of the critical esteem of even the lowliest reviewer.
"I'm not paraphrasing the old saw that truth is stranger than fiction, because I don't see any of these events as mirroring `truth' or `reality.' Twenty years ago the very idea of international terrorism would have been inconceivable. Today it's a given. So commonplace that we're unmanned and helpless in the face of Khomeini's audacity. In one fell swoop the man has become the most important public figure of our time. In short, he has manipulated reality simply by being bold. How precise a paradigm he has become for the copelessness of our times. In this madman we have an example of one who understands-even if subcutaneously-that the real world is infinitely manipulable. He has dreamed, and forced the rest of the world to live in that dream. That it is a nightmare for the rest of us is of no concern to the dreamer. Cane man's Utopia . . . "But his example, I suppose, in cathexian terms, is endlessly replicable. And what he has done is what I try to do in my stories. To alter everyday existence in a stretch of fiction . . . . And by the altering, by an insertion of a paradigmatic fantasy element, to permit the reader to perceive what she/he takes for granted in the surrounding precept in a slightly altered way. My hope is that the frisson the tiny shock of new awareness, the little spark of seeing the accepted from an uncomfortable angle, will convince them that there is room enough and time enough, if one only has courage enough, to alter one's existence.
"My message is always the same: we are the finest, most ingenious, potentially the most godlike construct the Universe has ever created. And every man or woman has the ability within him or her to reorder the perceived universe to his or her own design. My stories all speak of courage and ethic and friendship and toughness. Sometimes they do it with love, sometimes with violence„ sometimes with pain or sorrow or joy. But they all present the same message: the more you know, the more you can do. Or as Pasteur put it, `Chance favors the prepared mind.’ "I am antientropy. My work is foursquare for chaos. I spend my life personally, and my work professionally, keeping the soup boiling. Gadfly is what they call you when you are no longer dangerous; I much prefer troublemaker, malcontent, desperado. I see myself as a combination of Zorro and Jiminy Cricket. My stories go out from here and raise hell. From time to time some denigrator or critic with umbrage will say of my work, `He only wrote that to shock.’ "I smile and nod. Precisely.” So we find that Ellison's effort to "see" the world through a glass of fantasy is not really much different from Kurt Vonnegut's efforts to "see" it through a glass of satire, semi-science-fiction, and a kind of existential vapidity ( "Hi-ho . . . so it goes . . . how about that"); or Heller's efforts to "see" it as an endless tragicomedy played out in an open-air madhouse; or Pynchon's effort to "see" it as the longest-running Absurdist play in creation (the epigram heading the second section of Gravity's Rainbow is from The Wizard of Oz” -I don't think we're in Kansas anymore, Toto . . ."; and I think that Harlan Ellison would agree that this sums up postwar life in America as well as anything else). The essential similarity of these writers is that they are all writing fables. In spite of varying styles and points of view, the point in all cases is that these are moral tales.
In the late fifties Richard Matheson wrote a terrifying and utterly convincing tale of a modern-day succubus ( a female sexual vampire). In terms of shock and effect, it is one of the best tales I've ever read. There is also a succubus tale in Strange Wine , but in "Lonely Women Are the Vessels of Time," the succubus is more than a sexual vampire; she is an agent of moral forces, come to set things back in balance by stealing the self-confidence of a wretched man who likes to pick up lonely women in singles bars because they're easy lays. She exchanges her own loneliness for Mitch's potency and when the sexual encounter is done, she tells him: "Get up and get dressed and get out of here." The story cannot even be described as sociological, although it has a patina of sociology; it is a moral tale, pure and simple.
In "Emissary from Hamelin," a child piper returns on the booth anniversary of the abduction of the children from that medieval town and pipes finis for all of mankind. Here Ellison's basic idea, that progress is progressing in an immoral way, seems a bit shrill and tiresome, an unsurprising mating of the Twilight Zone moral stance with that of the Woodstock Nation (we can almost hear PA systems blaring, "And don't forget to pick up the garbage."). The child's explanation for his return is simple and direct: "We want everyone to stop what they are doing to make this a bad place, or we mill take this place away from you." But the words Ellison puts into his newspaperman-narrator's mouth to amplify the thought smacks a little bit too much of Woodsy Owl for me: "Stop paving over the green lands with plastic, stop fighting, stop killing friendship, have courage, don't lie, stop brutalizing each other . . ." These are Ellison's own thoughts, and fine thoughts they are, but I like my stories without billboards.