The Phantom Tollbooth - Juster Norton - Страница 19

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“Now for a look at the workshops,” she cried, whisking him through another door and into a large abandoned laboratory full of old pieces of equipment, all untended and rusting.

“This is where we used to invent the sounds,” she said wistfully.

“Do they have to be invented?” asked Milo, who seemed surprised at almost everything she told him. “I thought they just were.”

“No one realizes how much trouble we go through to make them,” she complained. “Why, at one time this shop was crowded and busy from morning to night.”

“But how do you invent a sound?” Milo inquired.

“Oh, that’s very easy,” she said. “First you must decide exactly what the sound looks like, for each sound has its own exact shape and size. Then you make some of them here in the shop, and grind each one three times into an invisible powder, and throw a little of each into the air every time you need it.”

“But I’ve never seen a sound,” Milo insisted.

“You never see them out there,” she said, waving her arm in the general direction of everywhere, “except every once in a while on a very cold morning when they freeze. But in here we see them all the time. Here, let me show you.”

She picked up a padded stick and struck a nearby bass drum six times. Six large woolly, fluffy cotton balls, each about two feet across, rolled silently out onto the floor.

“You see,” she said, putting some of them into a large grinder. “Now listen.” And she took a pinch of the invisible powder and threw it into the air with a “BOOM, BOOM, BOOM, BOOM.”

“Do you know what a handclap looks like?”

Milo shook his head.

“Try it,” she commanded.

He clapped his hands once and a single sheet of clean white paper fluttered to the floor. He tried it three more times and three more sheets of paper did the very same thing. And then he applauded as fast as he could and a great cascade of papers filled the air.

“Isn’t that simple? And it’s the same for all sounds. If you think about it, you’ll soon know what each one looks like. Take laughter, for instance,” she said, laughing brightly, and a thousand tiny brightly colored bubbles flew into the air and popped noiselessly. “Or speech,” she continued. “Some of it is light and airy, some sharp and pointed, but most of it, I’m afraid, is just heavy and dull.”

“How about music?” asked Milo excitedly.

“Right over here—we weave it on our looms. Symphonies are the large beautiful carpets with all the rhythms and melodies woven in. Concertos are these tapestries, and all the other bolts of cloth are serenades, waltzes, overtures, and rhapsodies. And we also have some of the songs that you often sing,” she cried, holding up a handful of brightly colored handkerchiefs.

She stopped for a moment and said sadly, “We even had one section over there that did nothing but put the sound of the ocean into sea shells. This was once such a happy place.”

“Then why don’t you make sound for everyone now?” he shouted, so eagerly that the Soundkeeper leaped back in surprise.

“Don’t shout so, young man! If there’s one thing we need more of around here, it’s less noise. Now come with me and I’ll tell you all about it—and put that down immediately!” Her last remark was directed toward Milo’s efforts to stuff one of the large drumbeats into his back pocket.

They returned quickly to the parlor, and when the Soundkeeper had settled herself in a chair and carefully tuned the radio to a special hour of hush, Milo asked his question once again, in a somewhat lower voice.

“It doesn’t make me happy to hold back the sounds,” she began softly, “for if we listen to them carefully they can sometimes tell us things far better than words.”

“But if that is so,” asked Milo—and he had no doubt that it was—“shouldn’t you release them?”

“NEVER!” she cried. “They just use them to make horrible noises which are ugly to see and worse to hear. I leave all that to Dr. Dischord and that awful, awful DYNNE.”

“But some noises are good sounds, aren’t they?” he insisted.

“That may be true,” she replied stubbornly, “but if they won’t make the sounds that I like, they won’t make any.”

“But——” he started to say, and it got no further than that. For while he was about to say that he didn’t think that that was quite fair (a thought to which the obstinate Soundkeeper might not have taken kindly) he suddenly discovered the way he would carry his little sound from the fortress. In the instant between saying the word and before it sailed off into the air he had clamped his lips shut—and the “but” was trapped in his mouth, all made but not spoken.

“Well, I mustn’t keep you all day,” she said impatiently. “Now turn your pockets out so that I can see that you didn’t steal anything and you can be on your way.”

When he had satisfied the Soundkeeper, he nodded his farewell—for it would have been most impractical to say “Thank you” or “Good afternoon”—and raced out the door.

With his mouth shut tight, and his feet moving as fast as thoughts could make them, Milo ran all the way back to the car. There was great excitement when he arrived, as Tock raced happily down the road to greet him. The Humbug personally accepted all congratulations from the crowd.

“Where is the sound?” someone hastily scribbled on the blackboard, and they all waited anxiously for the reply.

Milo caught his breath, picked up the chalk, and explained simply, “It’s on the tip of my tongue.”

Several people excitedly threw their hats into the air, some shouted what would have been a loud hurrah, and the rest pushed the heavy cannon into place. They aimed it directly at the thickest part of the fortress wall and packed it full of gunpowder.

Milo stood on tiptoe, leaned over into the cannon's mouth, and parted his lips. The small sound dropped silently to the bottom and everything was ready. In another moment the fuse was lit and sputtering.

“I hope no one gets hurt,” thought Milo, and, before he had time to think again, an immense cloud of gray and white smoke leaped from the gun and, along with it, so softly that it was hardly heard, came the sound of—

BUT

It flew toward the wall for several seconds in a high, lazy arc and then struck ever so lightly just to the right of the big door. For an instant there was an ominous stillness, quieter and more silent than ever before, as if even the air was holding its breath.

And then, almost immediately, there was a blasting, roaring, thundering smash, followed by a crushing, shattering, bursting crash, as every stone in the fortress came toppling to the ground and the vaults burst open, spilling the sounds of history into the wind.

Every sound that had ever been uttered or made, from way back to when there were none, to way up when there were too many, came hurtling out of the debris in a way that sounded as though everyone in the world was laughing, whistling, shouting, crying, singing, whispering, humming, screaming, coughing, and sneezing, all at the same time. There were bits of old speeches floating about, as well as recited lessons, gunshots from old wars, babies’ cries, auto horns, waterfalls, electric fans, galloping horses, and a great deal of everything else.

For a while there was total and deafening confusion and then, almost as quickly as they’d come, all the old sounds disappeared over the hill in search of their new freedom, and things were normal again.

The people quickly went about their busy talkative business and, as the smoke and dust cleared, only Milo, Tock, and the Humbug noticed the Soundkeeper sitting disconsolately on a pile of rubble.

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