The coming of the Amazons : $b A satiristic speculation on the scientific future of civilizationJohnson, Owen
Science
The coming of the Amazons : $b A satiristic speculation on the scientific future of civilization
Johnson, Owen
Cryonics -- Fiction; Satire; Science fiction; Sex role -- Fiction
I breathed a grateful sigh. At least then, the divine creature who
had captured my imagination would have her own hair and teeth! But
I checked my eagerness, for I was suddenly aware of a new flame in
Acquilla’s steel-blue eyes, and though the world was topsy-turvy
and women more so than anything else, I suspected that certain
primal characteristics had not changed. So I answered with a show of
casualness.
“Yes, there are a number of criticisms I could make, but probably they
would not interest a prima donna.”
“We’ll talk to her now.” Acquilla rose, and opening a partition in the
wall, disappeared. A moment later, she returned. “We’ll get her in a
few moments, as soon as central locates her. Of course, Bogardus, that
was a television record taken two years ago, but surely that doesn’t
astonish you?”
“The theory, of course, had been established,” I answered with some
pride, “but the complete achievement is astonishing. But then Acquilla,
are there no more theatres?”
“Why should there be any theatres?” said Acquilla. “A theatre was
simply a limited convention, where only a few hundred persons at a time
could enjoy a performance and for that, think how conventionalized
your theatre and opera had to be! It was only your great poets, like
Shakespeare and the Greeks, who intuitively wrote for the future. To
think that your actors performed on a stage with artificial trees and
skies! Surely you do not regret such performances when you can have
life itself?”
“Then every home has a theatre like this?”
“Why, of course! How could anyone live differently? The theatre _is_
the home! The theatre is the world before us; history, music and the
drama; the past and the actual. Surely, Bogardus, you recognize that
the stage as you saw it, was simply a conventionalized barrier between
the free imagination of the creative artist and his audience.”
“I agree heartily,” I said enthusiastically, “and I can hardly wait to
see more.”
“Now you are greatly excited again,” said Acquilla, “and I thought to
relax you. I think Bogardus, I shall have to send you off to sleep.”
But at this moment, a low chiming rhythm sounded in the room, and
Acquilla rising, disappeared through a partition.
“We are lucky. Dianne is in Chicago and will dine with us tomorrow
night. Come, she is eager to talk to you.”
I rose and resolved to conceal my emotion, entered a secret closet in
the wall, about twenty feet square, with some form of opaque glass
forming the sides. Acquilla closed the door behind us and touched
a switch. Instantly the figure of Dianne appeared before me, as
distinctly as though she were sitting in the room. From the intense
curiosity in her eyes, I divined that my presence was equally clear to
her.
“So you are the man from the twentieth century?” her lovely voice said
as distinctly as though she were at my side. “You cannot imagine what
excitement your arrival has caused. Tell me, what did you think of my
Isolde?”
Public-domain text, read in full here on John Shaqi.
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