I was saved from the gaggle of gleanies by my contact on Crèche, one Phillip Leppid, PhD, PhD, PhD (in Music History, Art History, and Pharmacology—the Three Graces). As those who claim to be au courant with the Contemporary Art Scene should know, the good Doctor-Doctor-Doctor is the man who first brought Crechian objets d'art to the attention of Those-Whose-Opinions-Are-Thought-To-Matter, in a gala showing last year at Buddenbrooks & Bleaks. Since that time, he has made himself buckets of booty huckstering the work wherever empty lives and full wallets are found. He is not Crechian himself—he hails from the hinterlands of a world named after some bottom-of-the-barrel Greek god who wouldn't have rated a pico-asteroid in the old Sol System—but Leppid is Crèche's foremost Advocate-Slash-Publicist-Slash-Pimp, and therefore was the natural choice to serve as my Sherpa during my Ascent to the Peak of Human Ahhh-tistic Achievement.
When he sighted me foundering on the shoals of a blue rinse ocean, Doc Leppy (as I never heard him called the whole time I was there) waded in with heroic disregard for his own ship of taste, scattered the minnows with the indiscriminate barging of his 300+ pounds, and dragged me to the safety of his waiting Lava Cruiser Deluxe. To be accurate, the cruuz was a cherry red Ourobouros Devourer 4.3BSD from the Wildebeest Motor Works, with manual steering, a logarithmic tachometer, and two dangling wires where the anti-collision computer used to be. The upholstery was taut white, covered with the bleached hide of an endangered species that I probably shouldn't name here because it would earn Leppid a visit from ecological guerrillas with a nasty How-Would-You-Like-To-Be-Tanned-And-Sat-On attitude. Ah, what the hell, it was an alligator. (Sorry, Phil—the Public's Need-to-Know wore down my resistance. Anyway, what have you done for me lately?)
With Leppid at the wheel, we peeled out of the Vac/Port at a speed that didn't quite break the sound barrier but opened a hair-line crack or two, and one exit ramp later we were spattering through the local lava fields fast enough to throw up a peacock tail of molten rock directly behind us…except that it wasn't directly behind us all that often, because Phil was weaving like a tripped-out spider: hard to port, hard to starboard, through our own wake of stony slush, one grade A skidding doughnut that bid fair to roll us Ass-Over-Teacup o'er the burning plain, one six-G deceleration that buried our nose so deep in volcanic phlegm I found myself wishing I'd brought a periscope…and finally, I had to say, "Phil. Enlighten me. Are we out here taking evasive maneuvers from snipers, or are you just jerking around?"
"Come on, Scalpel," he grinned as he gave the wheel a twist that heeled us over far enough to scorch the door handles, "I read that piece you did on the Overdrive Overlords of Omicron II. They drove around like maniacs and you wrote the most glowing review of your life."
"It seems to have escaped your attention, Phil, but what the Overdrive Overlords were up to was performance art," I told him. "They did not drive like maniacs, they drove like artists. The distinction may be subtle, but I like to think it's important."
Leppid snorted as if he knew what I really meant to say.
"If you recall any fragment of the article," I insisted, "from the moment they made their commitment to Art, it became the most important things in their lives. They made sacrifices, Phil. They were willing to bleed for the Cause. Need I remind you that the couple who drove the Ballet of the Sand had abstained from Vigorous-Convexity-In-Voracious-Concavity for six wanking months because they thought the yearning would make the performance more poignant? And even though I am not of the school that believes celibacy is a non-consummation devoutly to be wished, I must confess that there were tears in the Scalpine Big Browners as I watched them dance. Yes the dancers were driving cars across salt flats, and yes they were smashing fenders and sideswiping each other at velocities most speedometers only dream of; but they were expressing deep things, Phil! Two souls locked inside metal hulks, trying to make contact, trying to come together, turning near collisions into ballet, and eventually using the cars themselves to make soaring gentle love…. Magic! Art! Spirit, Phil, greatness of spirit! The material is immaterial, the artifact is arbitrary. The heart, the soul, and the life of Art is the spirit. Is any of this sparking neurons, Phil, or am I just impersonating a tree falling in a forest?"
"Come on, Jonny, I know what you really want is to get a little wild."
I sighed deeply. The difference between a Sensitive-Critic-Known-Respected-And-Feared-In-All-Corners-Of-The-Galaxy and an Opportunistic-Boor-Who-Might-Have-Three-Degrees-But-Doesn't-Know-Titian-From-Turds is that one of us has eyes that see and ears that hear, while the other has an assortment of prejudices he waits to have confirmed. "Phil," I told him, "you are getting wild, the car is getting wild, and the lava is getting positively livid. I, on the other hand, am sitting here passively, save for the occasional reflexive jerk to prevent my skull from making forceful contact with the dashboard."
Leppid laughed loud and long at that, all the while playing Jiggle-Me-Juicy with the steering wheel. The world is divided into two groups: the people who listen to what you say and ponder it deeply in their hearts; and the people who think every word that issues forth from your mouth is utterly facetious, and can even write down your clever turns of phrase and quote them in articles, for Bog's sake, without it ever penetrating their brains that you are trying to make some kind of statement.
So Leppid pursued his attempts at wooing me by wowing me, until Crèche's sun moseyed off to see if there was anything doing on the other side of the planet and the stars showed up to see what had changed since they left. At first glance, lava leaping in a cruuz looks even better after dark because of the weaving strips of black and flame, the fountaining of sparks, the gouting arcs of hot planet blood…but all that brucey imagery loses its charm damned fast if the smoky shadow you drive into turns out to be a jag of recalcitrant bedrock too pigheaded to melt. At last, even the good Triple-Doc had to admit that further monkeyshines in the magma were just a shade closer to suicidal than good taste allowed, so with tears in his eyes he called it a night.
We pulled up onto the highway at a spot apparently made for the purpose: something like a boat launching ramp, only gnubbly with flecks of dried lava dripped off by other hot-hot-hot-rodders who'd passed this way before. There was a bevy of Bloat-Belly trucks sharing the road with us, all coming from the Vac/Port and no doubt filled with the gewgaws of a hundred worlds, belched up from the cargo holds of the same Vac/Ship that had brought Your Obedient Servant. All of the trucks we passed were bot-driven, which was just fine with me—if Phil had seen one of those Bloaters under human control, I know he would have tried racing the rig in order to demonstrate his testosterone level to his captive member of the Press. (Ah, children, the world is full of people who want to impress the old Scalper with feats of derring-do. My advice is, derring-don't.)
Nascence City, the colonial capital, nestles halfway up the side of a volcano everyone swears is extinct (this surrounded by a lavid plain that seethes with fumaroles, geysers, and the like…suuurrrrre). You can see its lights winking, blinking, and nodding among the crags when you are down on the flats, but when the road actually begins climbing the mountain, your line of sight is blocked off by assorted igneous effusions that welled up some thirty million years ago—this geological travelogue courtesy of Nascence Alive!!!, one of those End-Every-Sentence-With-An-Exclamation-Point publications whose natural habitat is the top drawer of hotel night-tables.