Brave New World - Aldous Huxley [23]
Three charming girls from the Bureaux of Propaganda by Synthetic Voice waylaid him as he stepped out of the lift.
“Oh, Helmholtz, darling, do come and have a picnic supper with us on Exmoor.” They clung round him imploringly.
He shook his head, he pushed his way through them. “No, no.”
“We’re not inviting any other man.”
But Helmholtz remained unshaken even by this delightful promise. “No,” he repeated, “I’m busy.” And he held resolutely on his course. The girls trailed after him. It was not till he had actually climbed into Bernard’s plane and slammed the door that they gave up pursuit. Not without reproaches.
“These women!” he said, as the machine rose into the air. “These women!” And he shook his head, he frowned. “Too awful,” Bernard hypocritically agreed, wishing, as he spoke the words, that he could have as many girls as Helmholtz did, and with as little trouble. He was seized with a sudden urgent need to boast. “I’m taking Lenina Crowne to New Mexico with me,” he said in a tone as casual as he could make it.
“Are you?” said Helmholtz, with a total absense of interest. Then after a little pause, “This last week or two,” he went on, “I’ve been cutting all my committees and all my girls. You can’t imagine what a hullabaloo they’ve been making about it at the College. Still, it’s been worth it, I think. The effects …” He hesitated. “Well, they’re odd, they’re very odd.”
A physical shortcoming could produce a kind of mental excess. The process, it seemed, was reversible. Mental excess could produce, for its own purposes, the voluntary blindness and deafness of deliberate solitude, the artificial impotence of asceticism.
The rest of the short flight was accomplished in silence. When they had arrived and were comfortably stretched out on the pneumatic sofas in Bernard’s room, Helmholtz began again.
Speaking very slowly, “Did you ever feel,” he asked, “as though you had something inside you that was only waiting for you to give it a chance to come out? Some sort of extra power that you aren’t using—you know, like all the water that goes down the falls instead of through the turbines?” He looked at Bernard questioningly.
“You mean all the emotions one might be feeling if things were different?”
Helmholtz shook his head. “Not quite. I’m thinking of a queer feeling I sometimes get, a feeling that I’ve got something important to say and the power to say it—only I don’t know what it is, and I can’t make any use of the power. If there was some different way of writing … Or else something else to write about …” He was silent; then, “You see,” he went on at last, “I’m pretty good at inventing phrases—you know, the sort of words that suddenly make you jump, almost as though you’d sat on a pin, they seem so new and exciting even though they’re about something hypnopædically obvious. But that doesn’t seem enough. It’s not enough for the phrases to be good; what you make with them ought to be good too.”
“But your things are good, Helmholtz.”
“Oh, as far as they go.” Helmholtz shrugged his shoulders. “But they go such a little way. They aren’t important enough, somehow. I feel I could do something much more important. Yes, and more intense, more violent. But what? What is there more important to say? And how can one be violent about the sort of things one’s expected to write about? Words can be like X-rays, if you use them properly—they’ll go through anything. You read and you’re pierced. That’s one of the things I try to teach my students—how to write piercingly. But what on earth’s the good of being pierced by an article about a Community Sing, or the latest improvement in scent organs? Besides, can you make words really piercing—you know, like the very hardest X-rays—when you’re writing about that sort