From the Corner of His Eye

keep you on my student list, man. I'm sorry, but you're way too intense for me. Way too intense. Everything you do. All the women you run through, this whole art thing, whatever all those phone books are about-now even meditation. Way too intense for me, too obsessive. Sorry. Have a good life, man."
        Alone, Junior sat in the breakfast nook with a pot of coffee and an entire Sara Lee chocolate fudge cake.
        After the paralytic bladder seizures had passed and Junior had drained Lake Mead, Chicane recommended plenty of caffeine and sugar to guard against an unlikely but not impossible spontaneous return to a trance state. "Anyway, after pumping alpha waves for as long as you just did, you shouldn't actually need to sleep anytime soon."
        In fact, although weak and achy, Junior felt mentally refreshed and wonderfully alert.
        The time had come for him to think more seriously about his situation and his future. Self-improvement remained a laudable goal, but his efforts needed to be more focused.
        He had the capacity to be exceptional at anything to which he applied himself. Bob Chicane had been right about that: Junior was far more intense than other men, possessed of greater gifts and the energy to use them.
        In retrospect, he realized meditation didn't suit him. It was a passive activity, while by nature he was a man of action, happiest when doing.
        He had taken refuge in meditation, because he'd been frustrated by his continuing failure in the Bartholomew hunt and disturbed by his apparently paranormal experiences with quarters and with phone calls from the dead. More deeply disturbed than he had realized or had been able to admit.
        Fear of the unknown is a weakness, for it presumes dimensions to life beyond human control. Zedd teaches that nothing is beyond our control, that nature is just a mindlessly grinding machine with no more mysteries in it than we will find in applesauce.
        Furthermore, fear of the unknown is a weakness also because it humbles us. Humility, Caesar Zedd declares, is strictly for losers. For the purpose of social and financial advancement, we must pretend to be humble-shuffle our feet and duck our heads and make self-deprecating remarks-because deceit is the currency of civilization. But if ever we wallow in genuine humility, we will be no different from the mass of humanity, which Zedd calls "a sentimental sludge in love with failure and the prospect of its own doom."
        Gorging on fudge cake and coffee to guard against a spontaneous lapse into meditative catatonia, Junior manfully admitted that he had been weak, that he had reacted to the unknown with fear and retreat instead of with bold confrontation. Because each of us can trust no one in this world but himself, self-deceit is dangerous. He liked himself better for this frank admission of weakness.
        Chastened by these recent events, he vowed to stop meditating, to void all passive responses to the challenges of life. He must explore the unknown rather than flinch from it in fear. Besides, through his explorations, he would prove that the unknown was all just tapioca or applesauce, or whatever.
        He must begin by learning as much as possible about ghosts, hauntings, and the vengeance of the dead. During the remainder of 1966, only two apparently paranormal events occurred in Junior Cain's life, the first on Wednesday, October 5.
        On a culture stroll, checking out the newest work in a circuit of his favorite art galleries, Junior arrived eventually at the show windows of Galerie Coquin. Prominently displayed to passersby on the busy street was the sculpture of Wroth Griskin: two large pieces, each weighing at least five hundred pounds, and seven much smaller bronzes elevated on pedestals.
        Griskin, a former convict, had served eleven years for second-degree murder before the lobbying efforts of a coalition of artists and writers had won his parole. He possessed a huge talent. No one before Griskin had ever managed to express this degree of violence an rage in the medium of bronze, and Junior had long kept the artist's work on his short list of desired acquisitions.
        In the gallery windows, eight of the nine sculptures were so disturbing that many passersby, catching sight of them, blanched and looked away and hurried on. Not everyone can be a connoisseur.
        The ninth piece was not art, certainly not a work by Griskin, and