Bears Discover Fire

“We’re both very excited that you could come, Mr. Ray,” said Dr. DeCandyle. “We saw the work you did for the undersea Mariana Trench expedition, and your paintings prove that there are some things that the camera just can’t capture. It’s not just a technical problem of lack of light. You were able to convey the grandeur of the ocean depths; its cold, awesome terror.”

He did all the talking. It was my introduction to a manner of speech that struck me as exaggerated, almost comical—before I had experienced the horrors to which he held the key.

“Thank you,” I said, nodding first to his position and then to hers, even though she had said nothing yet. “Then you both undoubtedly also know that I lost my eyesight on the expedition, as a result of a decompression incident.”

“We do,” said Dr. DeCandyle. “But we also read the feature in the Sun; and we know that you have continued to paint, even though blind. And to great acclaim.”

This was true. After the accident, I learned that my hand hadn’t lost the confidence that almost forty years of training and work had built. I didn’t need to see to paint. The papers called it a psychic ability, but to me it was no more remarkable than the sketcher who watches his subject and not his pad. I had always been precise in how I lined up and laid on my colors; the fact I was still able to sense their shape and intensity on my canvas had more to do with moisture and smell, I suspected, than with ESP.

Whatever it was, the newspapers loved it. I had discussed it in several interviews over the past year; what I hadn’t told anyone was how badly the work had been going lately. An artist is not just a creator of beauty but also its primary consumer, and I had lost heart. After almost two years of blindness, I had lost all interest in painting scenes from my past, no matter how remarkable they might appear to others. My art had become a trick. The darkness that had fallen over my world was becoming total.

“I still paint, it’s true,” was all I said.

“We are engaged in a unique experiment,” said Dr. DeCandyle. “An expedition to a realm even more exotic and beautiful—and dangerous—than the ocean depths. Like the Mariana Trench, it is impossible to photograph and therefore has never been illustrated. That is why we want you to be a part of our team.”

“But why me?” I said. “Why a blind artist?”

DeCandyle didn’t answer. His voice took on a new authority. “Follow me and I’ll show you.”

Ignoring the awful irony of his words, and somewhat against my better judgment, I did.

Dr. Sorel fell in behind me; we passed through a door and entered a long corridor. Through another door, we entered a room larger and colder than the first. It sounded empty but wasn’t; we walked to the center and stopped.

“Twenty years ago, before beginning my doctoral work,” said DeCandyle, “I was part of a unique series of experiments being performed in Berkeley. I don’t suppose you are familiar with the name of Dr. Edwin Noroguchi?”

I shook my head.

“Dr. Noroguchi was experimenting in techniques for reviving the dead. Oh, nothing as dramatic and sinister as Frankenstein. Noroguchi studied and adapted the recent successes in reviving people who had drowned or suffered heart attacks. Learning to induce death for as long as an hour, we—I say we, for I joined him and have since devoted my life to the work—began to explore and, you might say, map the areas of existence immediately following death. LAD or Life After Death experience.”

My aunt Kate, who raised me after my parents were killed, always told me I was a little slow. It was only at this point that I began to understand what DeCandyle was getting at. If I had been nearer the door, I would have walked out. As it was, in the middle of a room where I had no bearings, I began backing away.

“Using chemical and electrical techniques on volunteers, we were able to confirm the stories those who had been revived told about their spirits looking down on their own bodies; about floating toward a light; about an intense feeling of peace and well-being—all this was scientifically investigated and confirmed. Though not, of course, photographed or documented. There was no way to share what we discovered with the scientific world.”

I had reached the wall; I started feeling along it for the door.

“Then legal and funding problems intervened, and our work was interrupted. Until recently. With the help of the university and interest from the National Geographic, Dr. Sorel and I have been able to continue the explorations that Dr. Noroguchi and I began. And your ability to paint will enable us to share with the world what we discover. The last unexplored frontier, the ‘undiscovered country’ of which Shakespeare wrote, is now within the reach of—”

“You’re talking about killing yourselves,” I interrupted. “You’re talking about killing me.”

“Only temporarily,” said Dr. Sorel. It was the first thing she’d said; I felt her hand on my arm and I shuddered.