Old Mars

Building in bone made for houses that were filled with a diffuse and airy light that threw no shadows. The material was also porous, so the rooms breathed even though the windows were narrow and sealed with bronze shutters. The walls also had the quality of absorbing rather than reflecting sound; Mather imagined that conversations in Martian rooms must have been muted, even the shouts and tumults of the aureus-eyed children softened and calmed.

He chose houses at random, traversing hallways and peering into chambers. The places were empty, the inhabitants having packed up in no apparent hurry. Occasionally, he found items of abandoned furniture—more bone, a couple of metal frames, the less durable wooden parts long since turned to dust.

In a corner of one upstairs room, he found a bone table on which rested a scatter of Martian books. He’d heard of these: sheets of thin silver inscribed in snakelike symbols of indelible blue ink. No one could read them, though it was said that someone had once done so and had become deranged. The subsequent murders had been hushed up.

Mather leafed through the books but could derive nothing from them other than that they had been beautifully made. He gazed at a page for almost a minute, waiting to see if he would be drawn into the twisting patterns as he had been with the wall design, ready to drop the book if anything untoward occurred. But nothing did. Finally, he placed the artifacts in his satchel—a willful violation of his terms of employment—and went outside.

The town sloped gradually from the landward end to the place where the sea had been, the finger of rock on which it was built also narrowing as it neared the vanished waves. At the very tip, the Martians had laid out a wide plaza, this one without a fountain. The pavement was fashioned from thousands of small tiles, their original bright colors now sun-faded to pale pastels, arranged in a border of stylized waves and sailing ships, blue against bronze, surrounding a great, sinuous sea creature with huge eyes and triangular flukes.

A broad flight of bone-concrete steps led down from the open space to the former harbor, where two curved moles enclosed a sheltered basin with a seaward opening only wide enough for two of the slim, burnished craft to pass at once.

The buildings that stood at the edge of the open space were grander than the houses he had entered so far. Their entrances were wide metal doors between carved pillars of bone. The surfaces of the doors were worked in raised snake-script in bas relief. Unlike the mouths of the houses, these were all closed.

It was natural for an archaeologist to wonder when presented with the unexplained behavior of vanished folk. Did the Martians, on the day they abandoned their homes, observe a ritual that decreed their doors must forever lie open? Was there a converse requirement to seal the entrances of public buildings, as Mather assumed the wide-doored edifices to be?

He did not know, would probably never know, but he would enjoy speculating in the professional journals when he returned at last to Earth, the only one of his kind to have done the fieldwork. And so it was with a frisson of anticipation that Fred Mather took hold of the handles of a pair of bronze doors and pulled.

The portals opened easily and he stepped into a wide, well-lit space. The building contained one high-ceilinged room, domed above in thinnest bone so that a translucent illumination fell upon the ringed tiers of seats that descended from the doorway to make a flat-bottomed bowl. In the middle of the amphitheater, rising from the floor, was a great cube of white stone, its top a little higher than the uppermost row of seats.

On the side facing Mather as he stepped down from tier to tier, the surface of the block was incised with a complex design, inlaid with greened-over copper, like the wall in the first house he had entered. It drew his eyes so that his steps began to falter. He lowered himself to a seat midway down the bowl. This time he would study the effect. He pulled his eyes away and fetched out his notebook, unclipped a pen from its wire-spiral spine, and took a deep breath.

Then he looked again at the cube. As before, he found that whichever part of the design he focused on, his gaze was pulled toward its center. Abruptly, the two-dimensional pattern took on depth, so that instead of staring at something, he was now peering into it.

Unable to look away, he flung a forearm across his eyes, then used the limb to restrict his vision as he made quick notes on the effect. At one point, he looked up to see if he could sketch the pattern of green on white, but immediately the pulling-in effect resumed—this time even stronger—and he had to use his arm to blind himself again while he noted this new observation.

From the satchel, the radio squawked. He paid it no heed, continued to write. Red Bowman’s voice came, harsh and incongruous in this Martian space, “Base to Mather, over.”