"Why the phrase, 'of all people'?"
"Don't be offended, but you seem devoid of all emotion."
"Do I?" Mullen's voice did not change. It remained precise and soft, yet somehow a tightness had entered it. "That's only training, Mr. Stuart, and self-discipline; not nature. A small man can have no respectable emotions. Is there anything more ridiculous than a man like myself in a state of rage? I'm five feet and one-half inch tall, and one hundred and two pounds in weight, if you care for exact figures. I insist on the half inch and the two pounds.
"Can I be dignified? Proud? Draw myself to my full height without inducing laughter? Where can I meet a woman who will not dismiss me instantly with a giggle? Naturally, I've had to learn to dispense with external display of emotion.
"You talk about deformities. No one would notice your hands or know they were different, if you weren't so eager to tell people all about it the instant you meet them. Do you think that the eight inches of height I do not have can be hidden? That it is not the first and, in most cases, the only thing about me that a person will notice?"
Stuart was ashamed. He had invaded a privacy he ought not have. He said, "I'm sorry."
"Why?"
"I should not have forced you to speak of this. I should have seen for myself that you-that you-"
"That I what? Tried to prove myself? Tried to show that while I might be small in body, I held within it a giant's heart?"
"I would not have put it mockingly."
"Why not? It's a foolish idea, and nothing like it is the reason I did what I did. What would I have accomplished if that's what was in my mind? Will they take me to Earth now and put me up before the television cameras- pitching them low, of course, to catch my face, or standing me on a chair- and pin medals on me?"
"They are quite likely to do exactly that."
"And what good would it do me? They would say, 'Gee, and he's such a little guy.' And afterward, what? Shall I tell each man I meet, 'You know, I'm the fellow they decorated for incredible valor last month?' How many medals, Mr. Stuart, do you suppose it would take to put eight inches and sixty pounds on me?"
Stuart said, "Put that way, I see your point."
Mullen was speaking a trifle more quickly now; a controlled heat had entered his words, warming them to just a tepid room temperature. "There were days when I thought I would show them, the mysterious 'them' that includes all the world. I was going to leave Earth and carve out worlds for myself. I would be a new and even smaller Napoleon. So I left Earth and went to Arcturus. And what could I do on Arcturus that I could not have done on Earth? Nothing. I balance books. So I am past the vanity, Mr. Stuart, of trying to stand on tiptoe."
"Then why did you do it?"
"I left Earth when I was twenty-eight and came to the Arcturian System. I've been there ever since. This trip was to be my first vacation, my first visit back to Earth in all that time. I was going to stay on Earth for six months. The Kloros instead captured us and would have kept us interned indefinitely. But I couldn't-I couldn't let them stop me from traveling to Earth. No matter what the risk, I had to prevent their interference. It wasn't love of woman, or fear, or hate, or idealism of any sort. It was stronger than any of those."
He stopped, and stretched out a hand as though to caress the map on the wall.
"Mr. Stuart," Mullen asked quietly, "haven't you ever been homesick?"
There is a perennial question among readers as to whether the views contained in a story reflect the views of the author. The answer is, "Not necessarily-" And yet one ought to add another short phrase "-but usually."
When I write a story in which opposing characters have opposing viewpoints, I do my best, insofar as it lies within my capabilities, to let each character express his own viewpoint honestly.
There are few people who, like Richard III in Shakespeare's play, are willing to say: "since I cannot prove a lover to entertain these fair and well-spoken days, I am determined to prove a villain."
No matter how villainous Tom may appear to Dick, Tom undoubtedly has arguments, quite sincerely felt, to prove to himself that he is not villainous at all. It is therefore quite ridiculous to have a villain act ostentatiously like a villain (unless you have the genius of a Shakespeare and can carry off anything-and I'm afraid I haven't.)
Still, no matter how I try to be fair, and how I try to present each person's views honestly, I cannot make myself be as convincing in presenting views that don't appeal to me, as in presenting those that do. Besides, the general working out of my story usually proceeds as I want it to; the victory, in one way or another, tends to lie with those characters whom I particularly like. Even if the ending is tragic, the point of the story (1 hate to use the word "moral") is usually one that satisfies me.
In short, if you ignore the fine details of any of my stories and consider it as a whole, I think you will find that the feeling it leaves with you is the feeling that I myself feel. It isn't a matter of conscious propaganda; it's just that I am a human being who feels something and who cannot help having that feeling show in the story.
But there are exceptions
In 1951, Mr. Raymond J. Healy, an anthologist of note, was planning a collection of original science fiction stories, and asked me to write one. He made only one specification. He wanted an upbeat story-something which, in my own more unsophisticated way, I called a "happy ending" story.
So I wrote a happy ending, but since I always try to beat the rules out of sheer bravado, I tried to write an unexpected happy ending, one in which the reader doesn't find out till the very end what the happy ending really is.
It was only after I had successfully (1 think) managed this particular tour de force and had had the story published, that I realized that my interest in technique had for once blinded me to content. Somehow this particular story, "In a Good Cause-," doesn't quite reflect my own feelings.
Groff Conklin, the late perceptive science fiction critic, once said that he liked this story, even though he disagreed with its philosophy, and to my embarrassment, I find that that is exactly how I myself feel.
First appearance-New Tales of Space and Time, 1951. Copyright, 1951, by Henry Holt and Company, Inc.
In a Good Cause
In the Great Court, which stands as a patch of untouched peace among the fifty busy square miles devoted to the towering buildings that are the pulse beat of the United Worlds of the Galaxy, stands a statue.
It stands where it can look at the stars at night. There are other statues ringing the court, but this one stands in the center and alone.
It is not a very good statue. The face is too noble and lacks the lines of living. The brow is a shade too high, the nose a shade too symmetrical, the clothing a shade too carefully disposed. The whole bearing is by far too saintly to be true. One can suppose that the man in real life might have frowned at times, or hiccupped, but the statue seemed to insist that such imperfections were impossible.
All this, of course, is understandable overcompensation. The man had no statues raised to him while alive, and succeeding generations, with the advantage of hindsight, felt guilty.
The name on the pedestal reads "Richard Sayama Altmayer." Underneath it is a short phrase and, vertically arranged, three dates. The phrase is: "In a good cause, there are no failures." The three dates are June 17, 2755; September 5, 2788; December 32, 2800;-the years being counted in the usual manner of the period, that is, from the date of the first atomic explosion in 1945 of the ancient era.