The Complete Short Stories
had now vanished into this strange travesty lying across my garden.
    I watched the statue reaching slowly across the lawn. It had collapsed under its own weight and lay on its side in a huge angular spiral, twenty feet long and about fifteen feet high, like the skeleton of a futuristic whale. Fragments of the Nutcracker Suite and Mendelssohn's 'Italian' Symphony sounded from it, overlaid by sudden blaring excerpts from the closing movements of Grieg's Piano Concerto. The selection of these hack classics seemed deliberately designed to get on my nerves.
    I had been up with the statue most of the night. After Carol went to bed I drove my car on to the strip of lawn next to the house and turned on the headlamps. The statue stood out almost luminously in the darkness, booming away to itself, more and more of the sonic cores budding out in the yellow glare of the lights. Gradually it lost its original shape; the toothed grille enveloped itself and then put out new struts and barbs that spiralled upwards, each throwing off secondary and tertiary shoots in its turn. Shortly after midnight it began to lean and then suddenly toppled over.
    By now its movement was corkscrew. The plinth had been carried into the air and hung somewhere in the middle of the tangle, revolving slowly, and the main foci of activity were at either end. The growth rate was accelerating. We watched a new shoot emerge. As one of the struts curved round a small knob poked through the flaking chrome. Within a minute it grew into a spur an inch long, thickened, began to curve and five minutes later had developed into a full-throated sonic core twelve inches long.
    Raymond pointed to two of my neighbours standing on the roofs of their houses a hundred yards away, alerted by the music carried across to them. 'You'll soon have everyone in Vermilion Sands out here. If! were you, I'd throw an acoustic drape over it.'
    'If I could find one the size of a tennis court. It's time we did something, anyway. See if you can trace Lorraine Drexel. I'm going to find out what makes this statue go.'
    Using the hacksaw, I cut off a two-foot limb and handed it to Dr Blackett, an eccentric but amiable neighbour who sometimes dabbled in sculpture himself. We walked back to the comparative quiet of the veranda. The single sonic core emitted a few random notes, fragments from a quartet by Webern.
    'What do you make of it?'
    'Remarkable,' Blackett said. He bent the bar between his hands. 'Almost plastic.' He looked back at the statue. 'Definite circumnutation there. Probably phototropic as well. Hmm, almost like a plant.'
    'Is it alive?'
    Blackett laughed. 'My dear Hamilton, of course not. How can it be?'
    'Well, where is it getting its new material? From the ground?'
    'From the air. I don't know yet, but I imagine it's rapidly synthesizing an allotropic form of ferrous oxide. In other words, a purely physical rearrangement of the constituents of rust.' Blackett stroked his heavy brush moustache and stared at the statue with a dream-like eye. 'Musically, it's rather curious - an appalling conglomeration of almost every bad note ever composed. Somewhere the statue must have suffered some severe sonic trauma. It's behaving as if it had been left for a week in a railroad shunting yard. Any idea what happened?'
    'Not really.' I avoided his glance as we walked back to the statue. It seemed to sense us coming and began to trumpet out the opening bars of Elgar's 'Pomp and Circumstance' march. Deliberately breaking step, I said to Blackett: 'So in fact all I have to do to silence the thing is chop it up into two-foot lengths?'
    'If it worries you. However, it would be interesting to leave it, assuming you can stand the noise. There's absolutely no danger of it going on indefinitely.' He reached up and felt one of the spars. 'Still firm, but I'd say it was almost there. It will soon start getting pulpy like an over-ripe fruit and begin to shred off and disintegrate, playing itself out, one hopes,

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