The Project Gutenberg EBook of The Calm Man, by Frank Belknap Long

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at

Title: The Calm Man

Author: Frank Belknap Long

Release Date: April 21, 2009 [EBook #28583]

Language: English

Character set encoding: ISO-8859-1


Produced by Greg Weeks, Stephen Blundell and the Online
Distributed Proofreading Team at

Dip the pen of a Frank Belknap Long into a bottle of ink and the result is always bound to be a scintillating piece of brilliant imaginative science fiction. And he's done it again in the tortured story of Sally.


by ... Frank Belknap Long

Sally watched the molten gold glow in the sky. Then knew she would not see her son and her husband ever again on Earth.

Sally Anders had never really thought of herself as a wallflower. A girl could be shy, couldn't she, and still be pretty enough to attract and hold men?

Only this morning she had drawn an admiring look from the milkman and a wolf cry from Jimmy on the corner, with his newspapers and shiny new bike. What if the milkman was crowding sixty and wore thick-lensed glasses? What if Jimmy was only seventeen?

A male was a male, and a glance was a glance. Why, if I just primp a little more, Sally told herself, I'll be irresistible.

Hair ribbons and perfume, a mirror tilted at just the right angle, an invitation to a party on the dresser—what more did a girl need?

"Dinner, Sally!" came echoing up from the kitchen. "Do you want to be late, child?"

Sally had no intention of being late. Tonight she'd see him across a crowded room and her heart would skip a beat. He'd look at her and smile, and come straight toward her with his shoulders squared.

There was always one night in a girl's life that stands above all other nights. One night when the moon shone bright and clear and the clock on the wall went tick tock, tick tock, tick tock. One night when each tick said, "You're beautiful! Really beautiful!"

Giving her hair a final pat Sally smiled at herself in the mirror.

In the bathroom the water was still running and the perfumed bath soap still spread its aromatic sweet odor through the room. Sally went into the bathroom and turned off the tap before going downstairs to the kitchen.

"My girl looks radiant tonight!" Uncle Ben said, smiling at her over his corned beef and cabbage.

Sally blushed and lowered her eyes.

"Ben, you're making her nervous," Sally's mother said, laughing.

Sally looked up and met her uncle's stare, her eyes defiant. "I'm not bad-looking whatever you may think," she said.

"Oh, now, Sally," Uncle Ben protested. "No sense in getting on a high horse. Tonight you may find a man who just won't be able to resist you."

"Maybe I will and maybe I won't," Sally said. "You'd be surprised if I did, wouldn't you?"

It was Uncle Ben's turn to lower his eyes.

"I'll tell the world you've inherited your mother's looks, Sally," he said. "But a man has to pride himself on something. My defects of character are pretty bad. But no one has ever accused me of dishonesty."

Sally folded her napkin and rose stiffly from the table.

"Good night, Uncle," she said.

When Sally arrived at the party every foot of floor space was taken up by dancing couples and the reception room was so crowded that, as each new guest was announced, a little ripple of displeasure went through the men in midnight blue and the women in Nile green and lavender.

For a moment Sally did not move, just stood staring at the dancing couples, half-hidden by one of the potted palms that framed the sides of the long room.

Moonlight silvered her hair and touched her white throat and arms with a caress so gentle that simply by closing her eyes she could fancy herself already in his arms.

Moonlight from tall windows flooding down, turning the dancing guests into pirouetting ghosts in diaphanous blue and green, scarlet and gold.

Close your eyes, Sally, close them tight! Now open them! That's it ... Slowly, slowly ...

He came out of nothingness into the light and was right beside her suddenly.

He was tall, but not too tall. His face was tanned mahogany brown, and his eyes were clear and very bright. And he stood there looking at her steadily until her mouth opened and a little gasp flew out.

He took her into his arms without a word and they started to dance ...

They were still dancing when he asked her to be his wife.

"You'll marry me, of course," he said. "We haven't too much time. The years go by so swiftly, like great white birds at sea."

They were very close when he asked her, but he made no attempt to kiss her. They went right on dancing and while he waited for her answer he talked about the moon ...

"When the lights go out and the music stops the moon will remain," he said. "It raises tides on the Earth, it inflames the minds and hearts of men. There are cyclic rhythms which would set a stone to dreaming and desiring on such a night as this."

He stopped dancing abruptly and looked at her with calm assurance.

"You will marry me, won't you?" he asked. "Allowing for a reasonable margin of error I seriously doubt if I could be happy with any of these other women. I was attracted to you the instant I saw you."

A girl who has never been asked before, who has drawn only one lone wolf cry from a newsboy could hardly be expected to resist such an offer.

Don't resist, Sally. He's strong and tall and extremely good-looking. He knows what he wants and makes up his mind quickly. Surely a man so resolute must make enough money to support a wife.

"Yes," Sally breathed, snuggling close to him. "Oh, yes!"

She paused a moment, then said, "You may kiss me now if you wish, my darling."

He straightened and frowned a little, and looked away quickly. "That can wait," he said.

They were married a week later and went to live on an elm-shaded street just five blocks from where Sally was born. The cottage was small, white and attractively decorated inside and out. But Sally changed the curtains, as all women must, and bought some new furniture on the installment plan.

The neighbors were friendly folk who knew her husband as Mr. James Rand, an energetic young insurance broker who would certainly carve a wider swath for himself in his chosen profession now that he had so charming a wife.

Ten months later the first baby came.

Lying beneath cool white sheets in the hospital Sally looked at the other women and felt so deliriously happy she wanted to cry. It was a beautiful baby and it cuddled close to her heart, its smallness a miracle in itself.

The other husbands came in and sat beside their wives, holding on tight to their happiness. There were flowers and smiles, whispers that explored bright new worlds of tenderness and rejoicing.

Out in the corridor the husbands congratulated one another and came in smelling of cigar smoke.

"Have a cigar! That's right. Eight pounds at birth. That's unusual, isn't it? Brightest kid you ever saw. Knew his old man right off."

He was beside her suddenly, standing straight and still in shadows.

"Oh, darling," she whispered. "Why did you wait? It's been three whole days."

"Three days?" he asked, leaning forward to stare down at his son. "Really! It didn't seem that long."

"Where were you? You didn't even phone!"

"Sometimes it's difficult to phone," he said slowly, as if measuring his words. "You have given me a son. That pleases me very much."

A coldness touched her heart and a despair took hold of her. "It pleases you! Is that all you can say? You stand there looking at me as if I were a—a patient ..."

"A patient?" His expression grew quizzical. "Just what do you mean, Sally?"

"You said you were pleased. If a patient is ill her doctor hopes that she will get well. He is pleased when she does. If a woman has a baby a doctor will say, 'I'm so pleased. The baby is doing fine. You don't have to worry about him. I've put him on the scales and he's a bouncing, healthy boy.'"

"Medicine is a sane and wise profession," Sally's husband said. "When I look at my son that is exactly what I would say to the mother of my son. He is healthy and strong. You have pleased me, Sally."

He bent as he spoke and picked Sally's son up. He held the infant in the crook of his arm, smiling down at it.

"A healthy male child," he said. "His hair will come in thick and black. Soon he will speak, will know that I am his father."

He ran his palm over the baby's smooth head, opened its mouth gently with his forefinger and looked inside.

Sally rose on one elbow, her tormented eyes searching his face.

"He's your child, your son!" she sobbed. "A woman has a child and her husband comes and puts his arms around her. He holds her close. If they love each other they are so happy, so very happy, they break down and cry."

"I am too pleased to do anything so fantastic, Sally," he said. "When a child is born no tears should be shed by its parents. I have examined the child and I am pleased with it. Does not that content you?"

"No, it doesn't!" Sally almost shrieked. "Why do you stare at your own son as if you'd never seen a baby before? He isn't a mechanical toy. He's our own darling, adorable little baby. Our child! How can you be so inhumanly calm?"

He frowned, put the baby down.

"There is a time for love-making and a time for parenthood," he said. "Parenthood is a serious responsibility. That is where medicine comes in, surgery. If a child is not perfect there are emergency measures which can be taken to correct the defect."

Sally's mouth went suddenly dry. "Perfect! What do you mean, Jim? Is there something wrong with Tommy?"

"I don't think so," her husband said. "His grasp is firm and strong. He has good hearing and his eyesight appears to be all that could be desired. Did you notice how his eyes followed me every moment?"

"I wasn't looking at his eyes!" Sally whispered, her voice tight with alarm. "Why are you trying to frighten me, Jim? If Tommy wasn't a normal, healthy baby do you imagine for one instant they would have placed him in my arms?"

"That is a very sound observation," Sally's husband said. "Truth is truth, but to alarm you at a time like this would be unnecessarily cruel."

"Where does that put you?"

"I simply spoke my mind as the child's father. I had to speak as I did because of my natural concern for the health of our child. Do you want me to stay and talk to you, Sally?"

Sally shook her head. "No, Jim. I won't let you torture me any more."

Sally drew the baby into her arms again and held it tightly. "I'll scream if you stay!" she warned. "I'll become hysterical unless you leave."

"Very well," her husband said. "I'll come back tomorrow."

He bent as he spoke and kissed her on the forehead. His lips were ice cold.

For eight years Sally sat across the table from her husband at breakfast, her eyes fixed upon a nothingness on the green-blue wall at his back. Calm he remained even while eating. The eggs she placed before him he cracked methodically with a knife and consumed behind a tilted newspaper, taking now an assured sip of coffee, now a measured glance at the clock.

The presence of his young son bothered him not at all. Tommy could be quiet or noisy, in trouble at school, or with an A for good conduct tucked with his report card in his soiled leather zipper jacket. It was always: "Eat slowly, my son. Never gulp your food. Be sure to take plenty of exercise today. Stay in the sun as much as possible."

Often Sally wanted to shriek: "Be a father to him! A real father! Get down on the floor and play with him. Shoot marbles with him, spin one of his tops. Remember the toy locomotive you gave him for Christmas after I got hysterical and screamed at you? Remember the beautiful little train? Get it out of the closet and wreck it accidentally. He'll warm up to you then. He'll be broken-hearted, but he'll feel close to you, then you'll know what it means to have a son!"

Often Sally wanted to fly at him, beat with her fists on his chest. But she never did.

You can't warm a stone by slapping it, Sally. You'd only bruise yourself. A stone is neither cruel nor tender. You've married a man of stone, Sally.

He hasn't missed a day at the office in eight years. She'd never visited the office but he was always there to answer when she phoned. "I'm very busy, Sally. What did you say? You've bought a new hat? I'm sure it will look well on you, Sally. What did you say? Tommy got into a fight with a new boy in the neighborhood? You must take better care of him, Sally."

There are patterns in every marriage. When once the mold has set, a few strange behavior patterns must be accepted as a matter of course.

"I'll drop in at the office tomorrow, darling!" Sally had promised right after the breakfast pattern had become firmly established. The desire to see where her husband worked had been from the start a strong, bright flame in her. But he asked her to wait a while before visiting his office.

A strong will can dampen the brightest flame, and when months passed and he kept saying 'no,' Sally found herself agreeing with her husband's suggestion that the visit be put off indefinitely.

Snuff a candle and it stays snuffed. A marriage pattern once established requires a very special kind of re-kindling. Sally's husband refused to supply the needed spark.

Whenever Sally had an impulse to turn her steps in the direction of the office a voice deep in her mind seemed to whisper: "No sense in it, Sally. Stay away. He's been mean and spiteful about it all these years. Don't give in to him now by going."

Besides, Tommy took up so much of her time. A growing boy was always a problem and Tommy seemed to have a special gift for getting into things because he was so active. And he went through his clothes, wore out his shoes almost faster than she could replace them.

Right now Tommy was playing in the yard. Sally's eyes came to a focus upon him, crouching by a hole in the fence which kindly old Mrs. Wallingford had erected as a protection against the prying inquisitiveness of an eight-year-old determined to make life miserable for her.

A thrice-widowed neighbor of seventy without a spiteful hair in her head could put up with a boy who rollicked and yelled perhaps. But peep-hole spying was another matter.

Sally muttered: "Enough of that!" and started for the kitchen door. Just as she reached it the telephone rang.

Sally went quickly to the phone and lifted the receiver. The instant she pressed it to her ear she recognized her husband's voice—or thought she did.

"Sally, come to the office!" came the voice, speaking in a hoarse whisper. "Hurry—or it will be too late! Hurry, Sally!"

Sally turned with a startled gasp, looked out through the kitchen window at the autumn leaves blowing crisp and dry across the lawn. As she looked the scattered leaves whirled into a flurry around Tommy, then lifted and went spinning over the fence and out of sight.

The dread in her heart gave way to a sudden, bleak despair. As she turned from the phone something within her withered, became as dead as the drifting leaves with their dark autumnal mottlings.

She did not even pause to call Tommy in from the yard. She rushed upstairs, then down again, gathering up her hat, gloves and purse, making sure she had enough change to pay for the taxi.

The ride to the office was a nightmare ... Tall buildings swept past, facades of granite as gray as the leaden skies of mid-winter, beehives of commerce where men and women brushed shoulders without touching hands.

Autumnal leaves blowing, and the gray buildings sweeping past. Despite Tommy, despite everything there was no shining vision to warm Sally from within. A cottage must be lived in to become a home and Sally had never really had a home.

One-night stand! It wasn't an expression she'd have used by choice, but it came unbidden into her mind. If you live for nine years with a man who can't relax and be human, who can't be warm and loving you'll begin eventually to feel you might as well live alone. Each day had been like a lonely sentinel outpost in a desert waste for Sally.

She thought about Tommy ... Tommy wasn't in the least like his father when he came racing home from school, hair tousled, books dangling from a strap. Tommy would raid the pantry with unthinking zest, invite other boys in to look at the Westerns on TV, and trade black eyes for marbles with a healthy pugnacity.

Up to a point Tommy was normal, was healthy.

But she had seen mirrored in Tommy's pale blue eyes the same abnormal calmness that was always in his father's, and the look of derisive withdrawal which made him seem always to be staring down at her from a height. And it filled her with terror to see that Tommy's mood could change as abruptly and terrifyingly cold ...

Tommy, her son. Tommy, no longer boisterous and eager, but sitting in a corner with his legs drawn up, a faraway look in his eyes. Tommy seeming to look right through her, into space. Tommy and Jim exchanging silent understanding glances. Tommy roaming through the cottage, staring at his toys with frowning disapproval. Tommy drawing back when she tried to touch him.

Tommy, Tommy, come back to me! How often she had cried out in her heart when that coldness came between them.

Tommy drawing strange figures on the floor with a piece of colored chalk, then erasing them quickly before she could see them, refusing to let her enter his secret child's world.

Tommy picking up the cat and stroking its fur mechanically, while he stared out through the kitchen window at rusty blackbirds on the wing ...

"This is the address you gave me, lady. Sixty-seven Vine Street," the cab driver was saying.

Sally shivered, remembering her husband's voice on the phone, remembering where she was ... "Come to the office, Sally! Hurry, hurry—or it will be too late!"

Too late for what? Too late to recapture a happiness she had never possessed?

"This is it, lady!" the cab driver insisted. "Do you want me to wait?"

"No," Sally said, fumbling for her change purse. She descended from the taxi, paid the driver and hurried across the pavement to the big office building with its mirroring frontage of plate glass and black onyx tiles.

The firm's name was on the directory board in the lobby, white on black in beautifully embossed lettering. White for hope, and black for despair, mourning ...

The elevator opened and closed and Sally was whisked up eight stories behind a man in a checkered suit.

"Eighth floor!" Sally whispered, in sudden alarm. The elevator jolted to an abrupt halt and the operator swung about to glare at her.

"You should have told me when you got on, Miss!" he complained.

"Sorry," Sally muttered, stumbling out into the corridor. How horrible it must be to go to business every day, she thought wildly. To sit in an office, to thumb through papers, to bark orders, to be a machine.

Sally stood very still for an instant, startled, feeling her sanity threatened by the very absurdity of the thought. People who worked in offices could turn for escape to a cottage in the sunset's glow, when they were set free by the moving hands of a clock. There could be a fierce joy at the thought of deliverance, at the prospect of going home at five o'clock.

But for Sally was the brightness, the deliverance withheld. The corridor was wide and deserted and the black tiles with their gold borders seemed to converge upon her, hemming her into a cool magnificence as structurally somber as the architectural embellishments of a costly mausoleum.

She found the office with her surface mind, working at cross-purposes with the confusion and swiftly mounting dread which made her footsteps falter, her mouth go dry.

Steady, Sally! Here's the office, here's the door. Turn the knob and get it over with ...

Sally opened the door and stepped into a small, deserted reception room. Beyond the reception desk was a gate, and beyond the gate a large central office branched off into several smaller offices.

Sally paused only an instant. It seemed quite natural to her that a business office should be deserted so late in the afternoon.

She crossed the reception room to the gate, passed through it, utter desperation giving her courage.

Something within her whispered that she had only to walk across the central office, open the first door she came to to find her husband ...

The first door combined privacy with easy accessibility. The instant she opened the door she knew that she had been right to trust her instincts. This was his office ...

He was sitting at a desk by the window, a patch of sunset sky visible over his right shoulder. His elbows rested on the desk and his hands were tightly locked as if he had just stopped wringing them.

He was looking straight at her, his eyes wide and staring.

"Jim!" Sally breathed. "Jim, what's wrong?"

He did not answer, did not move or attempt to greet her in any way. There was no color at all in his face. His lips were parted, his white teeth gleamed. And he was more stiffly controlled than usual—a control so intense that for once Sally felt more alarm than bitterness.

There was a rising terror in her now. And a slowly dawning horror. The sunlight streamed in, gleaming redly on his hair, his shoulders. He seemed to be the center of a flaming red ball ...

He sent for you, Sally. Why doesn't he get up and speak to you, if only to pour salt on the wounds you've borne for eight long years?

Poor Sally! You wanted a strong, protective, old-fashioned husband. What have you got instead?

Sally went up to the desk and looked steadily into eyes so calm and blank that they seemed like the eyes of a child lost in some dreamy wonderland barred forever to adult understanding.

For an instant her terror ebbed and she felt almost reassured. Then she made the mistake of bending more closely above him, brushing his right elbow with her sleeve.

That single light woman's touch unsettled him. He started to fall, sideways and very fast. Topple a dead weight and it crashes with a swiftness no opposing force can counter-balance.

It did Sally no good to clutch frantically at his arm as he fell, to tug and jerk at the slackening folds of his suit. The heaviness of his descending bulk dragged him down and away from her, the awful inertia of lifeless flesh.

He thudded to the floor and rolled over on his back, seeming to shrink as Sally widened her eyes upon him. He lay in a grotesque sprawl at her feet, his jaw hanging open on the gaping black orifice of his mouth ...

Sally might have screamed and gone right on screaming—if she had been a different kind of woman. On seeing her husband lying dead her impulse might have been to throw herself down beside him, give way to her grief in a wild fit of sobbing.

But where there was no grief there could be no sobbing ...

One thing only she did before she left. She unloosed the collar of the unmoving form on the floor and looked for the small brown mole she did not really expect to find. The mole she knew to be on her husband's shoulder, high up on the left side.

She had noticed things that made her doubt her sanity; she needed to see the little black mole to reassure her ...

She had noticed the difference in the hair-line, the strange slant of the eyebrows, the crinkly texture of the skin where it should have been smooth ...

Something was wrong ... horribly, weirdly wrong ...

Even the hands of the sprawled form seemed larger and hairier than the hands of her husband. Nevertheless it was important to be sure ...

The absence of the mole clinched it.

Sally crouched beside the body, carefully readjusting the collar. Then she got up and walked out of the office.

Some homecomings are joyful, others cruel. Sitting in the taxi, clenching and unclenching her hands, Sally had no plan that could be called a plan, no hope that was more than a dim flickering in a vast wasteland, bleak and unexplored.

But it was strange how one light burning brightly in a cottage window could make even a wasteland seem small, could shrink and diminish it until it became no more than a patch of darkness that anyone with courage might cross.

The light was in Tommy's room and there was a whispering behind the door. Sally could hear the whispering as she tiptoed upstairs, could see the light streaming out into the hall.

She paused for an instant at the head of the stairs, listening. There were two voices in the room, and they were talking back and forth.

Sally tiptoed down the hall, stood with wildly beating heart just outside the door.

"She knows now, Tommy," the deepest of the two voices said. "We are very close, your mother and I. She knows now that I sent her to the office to find my 'stand in.' Oh, it's an amusing term, Tommy—an Earth term we'd hardly use on Mars. But it's a term your mother would understand."

A pause, then the voice went on, "You see, my son, it has taken me eight years to repair the ship. And in eight years a man can wither up and die by inches if he does not have a growing son to go adventuring with him in the end."

"Adventuring, father?"

"You have read a good many Earth books, my son, written especially for boys. Treasure Island, Robinson Crusoe, Twenty Thousand Leagues Under The Sea. What paltry books they are! But in them there is a little of the fire, a little of the glow of our world."

"No, father. I started them but I threw them away for I did not like them."

"As you and I must throw away all Earth things, my son. I tried to be kind to your mother, to be a good husband as husbands go on Earth. But how could I feel proud and strong and reckless by her side? How could I share her paltry joys and sorrows, chirp with delight as a sparrow might chirp hopping about in the grass? Can an eagle pretend to be a sparrow? Can the thunder muffle its voice when two white-crested clouds collide in the shining depths of the night sky?"

"You tried, father. You did your best."

"Yes, my son, I did try. But if I had attempted to feign emotions I did not feel your mother would have seen through the pretense. She would then have turned from me completely. Without her I could not have had you, my son."

"And now, father, what will we do?"

"Now the ship has been repaired and is waiting for us. Every day for eight years I went to the hill and worked on the ship. It was badly wrecked, my son, but now my patience has been rewarded, and every damaged astronavigation instrument has been replaced."

"You never went to the office, father? You never went at all?"

"No, my son. My stand-in worked at the office in my place. I instilled in your mother's mind an intense dislike and fear of the office to keep her from ever coming face to face with the stand-in. She might have noticed the difference. But I had to have a stand-in, as a safeguard. Your mother might have gone to the office despite the mental block."

"She's gone now, father. Why did you send for her?"

"To avoid what she would call a scene, my son. That I could not endure. I had the stand-in summon her on the office telephone, then I withdrew all vitality from it. She will find it quite lifeless. But it does not matter now. When she returns we will be gone."

"Was constructing the stand-in difficult, father?"

"Not for me, my son. On Mars we have many androids, each constructed to perform a specific task. Some are ingenious beyond belief—or would seem so to Earthmen."

There was a pause, then the weaker of the two voices said, "I will miss my mother. She tried to make me happy. She tried very hard."

"You must be brave and strong, my son. We are eagles, you and I. Your mother is a sparrow, gentle and dun-colored. I shall always remember her with tenderness. You want to go with me, don't you?"

"Yes, father. Oh, yes!"

"Then come, my son. We must hurry. Your mother will be returning any minute now."

Sally stood motionless, listening to the voices like a spectator sitting before a television screen. A spectator can see as well as hear, and Sally could visualize her son's pale, eager face so clearly there was no need for her to move forward into the room.

She could not move. And nothing on Earth could have wrenched a tortured cry from her. Grief and shock may paralyze the mind and will, but Sally's will was not paralyzed.

It was as if the thread of her life had been cut, with only one light left burning. Tommy was that light. He would never change. He would go from her forever. But he would always be her son.

The door of Tommy's room opened and Tommy and his father came out into the hall. Sally stepped back into shadows and watched them walk quickly down the hall to the stairs, their voices low, hushed. She heard them descend the stairs, their footsteps dwindle, die away into silence ...

You'll see a light, Sally, a great glow lighting up the sky. The ship must be very beautiful. For eight years he labored over it, restoring it with all the shining gifts of skill and feeling at his command. He was calm toward you, but not toward the ship, Sally—the ship which will take him back to Mars!

How is it on Mars, she wondered. My son, Tommy, will become a strong, proud adventurer daring the farthest planet of the farthest star?

You can't stop a boy from adventuring. Surprise him at his books and you'll see tropical seas in his eyes, a pearly nautilus, Hong Kong and Valparaiso resplendent in the dawn.

There is no strength quite like the strength of a mother, Sally. Endure it, be brave ...

Sally was at the window when it came. A dazzling burst of radiance, starting from the horizon's rim and spreading across the entire sky. It lit up the cottage and flickered over the lawn, turning rooftops to molten gold and gilding the long line of rolling hills which hemmed in the town.

Brighter it grew and brighter, gilding for a moment even Sally's bowed head and her image mirrored on the pane. Then, abruptly, it was gone ...

Transcriber's Note: This etext was produced from Fantastic Universe May 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed. Minor spelling and typographical errors have been corrected without note.

End of the Project Gutenberg EBook of The Calm Man, by Frank Belknap Long


***** This file should be named 28583-h.htm or *****
This and all associated files of various formats will be found in:

Produced by Greg Weeks, Stephen Blundell and the Online
Distributed Proofreading Team at

Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties.  Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  Redistribution is
subject to the trademark license, especially commercial



To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at

Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (,
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.


1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal

defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.

Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need, are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at

Section 3.  Information about the Project Gutenberg Literary Archive

The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service.  The Foundation's EIN or federal tax identification
number is 64-6221541.  Its 501(c)(3) letter is posted at  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director

Section 4.  Information about Donations to the Project Gutenberg
Literary Archive Foundation

Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment.  Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.

The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States.  Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements.  We do not solicit donations in locations
where we have not received written confirmation of compliance.  To
SEND DONATIONS or determine the status of compliance for any
particular state visit

While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.

International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States.  U.S. laws alone swamp our small staff.

Please check the Project Gutenberg Web pages for current donation
methods and addresses.  Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit:

Section 5.  General Information About Project Gutenberg-tm electronic

Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone.  For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.

Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.

Most people start at our Web site which has the main PG search facility:

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.