Imaging is as much an art in arranging perception as
in changing reality.
I woke early on the following Mardi morning, and after I bathed in the communal shower room-with water that I had the feeling was never less than chill-and shaved and dressed, I sat at the writing table in my room, looking at the two cylinders.
More than a week had gone by quickly, each day following a similar pattern. Breakfast, examination and instruction by Master Dichartyn, which could be over in half a glass or drag on for as many as two, followed by some sort of imaging exercises, lunch, some other activity involving observation or instruction, ranging from watching experiments in the chemistry laboratories to watching or learning how to handle machinery in either the woodworking shop, the metalworking shop, or the model shop. Then, when I was worn out, I had to read and study.
On Lundi, the day before, I’d had to admit to Master Dichartyn that I still hadn’t figured out the skill of placing a small cylinder in the empty space in the middle of the larger cylinder. It shouldn’t have been that hard, because some of the younger primes had been doing something like it, if unintentionally, during the imaging exercises on the boat.
Master Dichartyn had just looked at me as if I were truly stupid and then gone on to ask questions about what I’d read, and what I hadn’t, in the Natural Science book. He’d started by asking me how much air weighed. I’d never thought about air weighing something, but since a barometer worked by measuring the change in the weight of the air, I suppose I should have.
Air weighing something . . . had his question been as random as it had seemed? But if air weighed something, then I really wasn’t trying to image something into what I’d thought of as an empty space. Why was it easy to image something on a table? Because the air could be more easily moved? Or because I didn’t have to work to hold it up as it was being imaged?
I kept thinking about it, all the way to breakfast, where we had oat porridge, along with raisins and bread, and two thin strips of bacon.
I concentrated on the idea of imaging a raisin into the middle of a spoonful of the oat porridge. A small gout of porridge spouted up.
“Don’t let the masters catch you playing with your food,” murmured Thenard.
Someone else snickered.
I forced myself to eat the mouthful of porridge. The raisin tasted fine, but should I have swallowed it? I looked at the handful of raisins sprinkled on top of the porridge. Why couldn’t I image one of them into my spoon? Wouldn’t it be easier than trying to create a raisin?
Carefully, I took another spoonful, one without raisins, and then concentrated on the raisin on the top of the porridge farthest from me, visualizing it disappearing and then reappearing on top of the porridge in my spoon. The one raisin vanished, then reappeared on the spoon’s porridge. I could feel my forehead beginning to sweat, but . . . I’d done it.
That raised another question. I could feel the energy it took to do imaging, but why hadn’t I when I’d first begun to image? Or was it that what I’d done was so slight than it just hadn’t taken that much imaging? But then, there was the fire . . . Or hadn’t I noticed the effort then because I’d been so angry and then so involved in trying to help the children out of the house?
Later, as I walked across the quadrangle through the misting rain toward Master Dichartyn’s study, I couldn’t help thinking about what I’d done . . . and what it suggested. By using imaging to move something, I’d also proved that it was possible to remove things, at least to some degree. If one removed the cartridge from a pistol aimed at one, or if one removed . . . I winced. I wasn’t certain I wanted to explore those possibilities, not immediately. But I was beginning to understand exactly why the Collegium insisted on such strict rules and such secrecy.
As was usual, Master Dichartyn’s door was closed, and I sat down on the wooden bench and began to read the sixth section of the Natural Science book, which dealt with metals and various alloys. I couldn’t help but wonder how effective imaging might be in creating some of them, at least in small quantities.
Before long, the study door opened, and one of the older imagers, a secondus or even a tertius, departed.
“Rhennthyl?”
I immediately closed the book, stood, and hurried into his study and took my place on the still-warm seat used by the previous imager.
Master Dichartyn came right to the point, as usual. “Only a few of you will ever work in the laboratories. So why does the Collegium insist that you study science and work and practice in the laboratories?”
I gave the best answer I could come up with. “So that we’ll be better imagers?”
“That’s true as far as it goes.”
I didn’t know what to say to that.
“Your brain knows more than you recall at any one point,” he went on. “If you have a friend, when you meet him, you don’t think about everything you know about him at that moment, do you?”
“No, sir.”
“But all your actions and all your words take into account everything you know, even if you don’t try to remember it all. What all this study about metals and science is designed to do is to provide the same kind of knowledge in order to improve your imaging skills.”
That made sense. I could see that I was already doing that.
“Do you have the two cylinders?”
“Yes, sir.”
“Let’s see what you can do.”
I had the two cylinders, but I hadn’t even thought about them. Still, was air any different from porridge, except thinner? I took out the larger cylinder and propped it in place sideways on Master Dichartyn’s writing desk with two books that had been on the far corner, then held the smaller cylinder. Could I just move it? I decided to try.
The small cylinder vanished from my hand and appeared in the middle of the larger one, hanging there for just an instant before clunking down onto the bottom side of the larger cylinder.
Master Dichartyn’s eyes flicked from my hand to the cylinder and then back to my hand. He nodded slowly. “I wondered when you’d make that connection. Some never do. They’re the ones who remain seconds.”
“Seconds?” I blurted.
“Right now, you have the raw talent of a tertius, but you don’t have the understanding necessary for a secondus of your ability. We’re going to have to work on that.”
“Yes, sir.” While I didn’t mind the work, I didn’t much care for the way in which he’d expressed the words.
“Why is there an absolute prohibition on an imager using his ability for any significant financial advantage for himself personally or for any other individual?”
I’d read that section. So I answered quickly. “That would give him or her an unfair advantage over others, and that would create anger against the Collegium.”
“That’s very true, Rhenn. It’s also very incomplete. Can you think of other reasons?”
“It might create conflict within the Collegium.”
“That’s also true. I’d like you to think about that for a while. Let’s look at it from another perspective. You mentioned that you’d used imaging in painting your own work, but what if you used your talent to copy an entire painting of a master?”
“It wouldn’t work, sir. There’s too much detail.”
Dichartyn sighed and gave a weary smile. “That’s a bad example, then. Let’s take something simpler, a gold crown. You could probably image one now. Doing so would leave you weak and dizzy, if not in far worse shape, and, even if I said you could, you shouldn’t try it, but in time you would be able to image a handful or so of them, at least in the right place. They’d be real gold, not counterfeit, and no one would be the wiser. Why would that be wrong?”
“Besides the fact that the rules of the Collegium forbid it?” I had to think about that. “I don’t know that I can answer that, because that sort of imaging is work, and if I imaged real gold pieces, what’s the difference between painting a portrait and receiving golds and creating the golds. I mean . . . someone mines the ore, and someone smelts it, and someone coins it, and they all get paid. So where is that any different from my imaging a gold crown?”