Time and Time Again. Robert Silverberg

moving with inexorable certainty. He stands flat-footed, dumbfounded, high on a bare hillside in warm early-hour sunlight. The house—redwood timbers, picture window, driftwood sculptures, paintings, books, records, refrigerator, gallon jugs of red wine, carpets, tiles, avocado plants in wooden tubs, carport, car, driveway—is gone. The neighboring houses are gone. The winding street is gone. The eucalyptus forest that ought to be behind him, rising toward the crest of the hill, is gone. Downslope there is no Oakland, there is no Berkeley, only a scattering of crude squatter’s shacks running raggedly along unpaved switchbacks toward the pure blue bay. Across the water there is no Bay Bridge; on the far shore there is no San Francisco. The Golden Gate Bridge does not span the gap between the city and the Marin headland—Cameron is astonished, not that he didn’t expect something like this, but that the transformation is so complete, so absolute. “If you don’t want your world anymore,” the old man had said, “you can drop it, can’t you? Let go of it, let it drop. Can’t you? Of course you can.”

      And so Cameron has let go of it. He’s in another place entirely, now. Wherever this place is, it isn’t home. The sprawling Bay Area cities and towns aren’t here, never were. Goodbye, San Leandro, San Mateo, El Cerrito, Walnut Creek. He sees a landscape of gentle bare hills, rolling meadows, the dry brown grass of summer; the scarring hand of man is evident only occasionally. He begins to adapt. This is what he must have wanted, after all; and though he has been jarred by the shock of transition, he is recovering quickly; he is settling in; he feels already that he could belong here. He will explore this unfamiliar world, and if he finds it good, he will discover a niche for himself. The air is sweet. The sky is cloudless. Has he really gone to some new place, or is he still in the old place and has everything else that was there simply gone away? Easy. He has gone. Everything else has gone. The cosmos has entered into a transitional phase. Nothing’s stable any more. From this moment onward, Cameron’s existence is a conditional matter, subject to ready alteration. What did the old man say? Go wherever you like. Define your world as you would like it to be, and go there, and if you discover that you don’t care for this or don’t need that, why, go somewhere else. It’s all trips, this universe. What else is there? There isn’t anything but trips. Just trips. So here you are, friend. New frameworks! New patterns! New!

       4.

      THERE IS A SOUND TO his left, the crackling of dry brush underfoot, and Cameron turns, looking straight into the morning sun, and sees a man on horseback approaching him. He is tall, slender, about Cameron’s own height and build, it seems, but perhaps a shade broader through the shoulders. His hair, like Cameron’s, is golden, but it is much longer, descending in a straight flow to his shoulders and tumbling onto his chest. He has a soft, full, curling beard, untrimmed but tidy. He wears a wide-brimmed hat, buckskin chaps, and a light fringed jacket of tawny leather. Because of the sunlight, Cameron has difficulty at first making out his features, but after a moment his eyes adjust and he sees that the other’s face is very much like his own: thin lips, jutting high-bridged nose, cleft chin, cool blue eyes below heavy brows. Of course. Your face is my face. You and I, I and you, drawn to the same place at the same time across the many worlds. Cameron had not expected this, but now that it has happened it seems to have been inevitable.

      They look at each other. Neither speaks. During that silent moment Cameron invents a scene for them. He imagines the other dismounting, inspecting him in wonder, walking around him, peering into his face, studying it, frowning, shaking his head, finally grinning and saying:

      —I’ll be damned. I never knew I had a twin brother. But here you are. It’s just like looking in the mirror.

      —We aren’t twins.

      —We’ve got the same face. Same everything. Trim away a little hair and nobody could tell me from you, you from me. If we aren’t twins, what are we?

      —We’re closer than brothers.

      —I don’t follow your meaning, friend.

      —This is how it is: I’m you. You’re me. One soul, one identity. What’s your name?

      —Cameron.

      —Of course. First name?

      —Kit.

      —That’s short for Christopher, isn’t it? My name is Cameron too. Chris. Short for Christopher. I tell you, we’re one and the same person, out of two different worlds. Closer than brothers. Closer than anything.

      NONE OF THIS IS SAID, however. Instead, the man in the leather clothing rides slowly toward Cameron, pauses, gives him a long incurious stare, and says simply, “Morning. Nice day.” And continues onward.

      “Wait,” Cameron says.

      The man halts. Looks back. “What?”

       Never ask for help. Fake it all the way. Jaunty smile; steely, even gaze.

      Yes. Cameron remembers all that. Somehow, though, infiltration seems easier to bring off in a city. You can blend into the background there. More difficult here, exposed as you are against the stark, unpeopled landscape.

      Cameron says, as casually as he can, using what he hopes is a colorless neutral accent, “I’ve been traveling out from inland. Came a long way.”

      “Umm. Didn’t think you were from around here. Your clothes.”

      “Inland clothes.”

      “The way you talk. Different. So?”

      “New to these parts. Wondered if you could tell me a place I could hire a room till I got settled.”

      “You come all this way on foot?”

      “Had a mule. Lost him back in the valley. Lost everything I had with me.”

      “Umm. Indians cutting up again. You give them a little gin, they go crazy.” The other smiles faintly; then the smile fades and he retreats into impassivity, sitting motionless with hands on thighs, face a mask of patience that seems merely to be a thin covering for impatience or worse.

       —Indians—?

      “They gave me a rough time,” Cameron says, getting into the fantasy of it.

      “Umm.”

      “Cleaned me out, let me go.”

      “Umm. Umm.”

      Cameron feels his sense of a shared identity with this man lessening. There is no way of engaging him. I am you, you are I, and yet you take no notice of the strange fact that I wear your face and body, you seem to show no interest in me at all. Or else you hide your interest amazingly well.

      Cameron says, “You know where I can get lodging?”

      “Nothing much around here. Not many settlers this side of the bay, I guess.”

      “I’m strong. I can do most any kind of work. Maybe you could use—”

      “Umm. No.” Cold dismissal glitters in the frosty eyes. Cameron wonders how often people in the world of his former life saw such a look in his own. A tug on the reins. Your time is up, stranger. The horse swings around and begins picking its way daintily along the path.

      Desperately Cameron calls, “One thing more!”

      “Umm?”

      “Is your name Cameron?”

      A flicker of interest. “Might be.”

      “Christopher Cameron. Kit. Chris. That you?”

      “Kit.” The other’s eyes drill into his own. The mouth compresses until the lips are invisible: not a scowl but a speculative, pensive movement. There is tension in the way the other man grasps his reins. For the first time Cameron feels that he has made contact. “Kit Cameron, yes. Why?”

      “Your wife,” Cameron says. “Her name Elizabeth?”

      The tension increases. The other Cameron is cloaked in explosive silence. Something terrible is building within him. Then, unexpectedly, the