"All Cats Are Gray"
(c) 1953 by Andre Norton
(writing as "Andrew North")
Steena of the spaceways—that sounds just like a corny title for one of the Stellar-Vedo spreads. I ought to know, I’ve tried my hand at writing enough of them. Only this Steena was no glamour babe. She was as colorless as a Lunar plant—even the hair netted down to her skull had a sort of grayish cast and I never saw her but once draped in anything but a shapeless and baggy gray space-all.
She drifted from port to port. Being an expert operator on the big calculators she found jobs wherever she cared to stay for a time. And she came to be something like the master-minded machines she tended—smooth, gray, without much personality of her own.
But it was Steena who told Bub Nelson about the Jovan moon-rites—and her warning saved Bub’s life six months later. It was Steena who identified the piece of stone Keene Clark was passing around a table one night, rightly calling it unworked Slitite. That started a rush which made ten fortunes overnight for men who were down to their last jets. And, last of all, she cracked the case of the Empress of Mars.
All the boys who had profited by her queer store of knowledge and her photographic memory tried at one time or another to balance the scales. But she wouldn’t take so much as a cup of Canal water at their expense, let alone the credits they tried to push on her. Bub Nelson was the only one who got around her refusal. It was he who brought her Bat.
About a year after the Jovan affair he walked into the Free Fall one night and dumped Bat down on her table. Bat looked at Steena and growled. She looked calmly back at him and nodded once. From then on they traveled together—the thin gray woman and the big gray tom-cat. Bat learned to know the inside of more stellar bars than even most spacers visit in their lifetimes. He developed a liking for Vernal juice, drank it neat and quick, right out of a glass. And he was always at home on any table where Steena elected to drop him.
This is really the story of Steena, Bat, Cliff Moran and the Empress of Mars, a story which is already a legend of the spaceways. And it’s a damn good story too. I ought to know, having framed the first version of it myself.
For I was there, right in the Rigel Royal, when it all began on the night that Cliff Moran blew in, looking lower than an antman’s belly and twice as nasty. He’d had a spell of luck foul enough to twist a man into a slug-snake and we all knew that there was an attachment out for his ship. Cliff had fought his way up from the back courts of Venaport. Lose his ship and he’d slip back there—to rot. He was at the snarling stage that night when he picked out a table for himself and set out to drink away his troubles.
However, just as the first bottle arrived, so did a visitor. Steena came out of her corner, Bat curled around her shoulders stole-wise, his favorite mode of travel. She crossed over and dropped down without invitation at Cliff’s side. That shook him out of his sulks. Because Steena never chose company when she could be alone. If one of the man-stones on Ganymede had come stumping in, it wouldn’t have made more of us look out of the corners of our eyes.
She stretched out one long-fingered hand and set aside the bottle he had ordered and said only one thing, “It’s about time for the Empress of Mars to appear again.”
Cliff scowled and bit his lip. He was tough, tough as jet lining—you have to be granite inside and out to struggle up from Venaport to a ship command. But we could guess what was running through his mind at that moment. The Empress of Mars was just about the biggest prize a spacer could aim for. But in the fifty years she had been following her queer derelict orbit through space many men had tried to bring her in—and none had succeeded.
A pleasure-ship carrying untold wealth, she had been mysteriously abandoned in space by passengers and crew, none of whom had ever been seen or heard of again. At intervals thereafter she had been sighted, even boarded. Those who ventured into her either vanished or returned swiftly without any believable explanation of what they had seen—wanting only to get away from her as quickly as possible. But the man who could bring her in—or even strip her clean in space—that man would win the jackpot.
“All right!” Cliff slammed his fist down on the table. “I’ll try even that!”
Steena looked at him, much as she must have looked at Bat the day Bub Nelson brought him to her, and nodded. That was all I saw. The rest of the story came to me in pieces, months later and in another port half the System away.
Cliff took off that night. He was afraid to risk waiting—with a writ out that could pull the ship from under him. And it wasn’t until he was in space that he discovered his passengers—Steena and Bat. We’ll never know what happened then. I’m betting that Steena made no explanation at all. She wouldn’t.
It was the first time she had decided to cash in on her own tip and she was there—that was all. Maybe that point weighed with Cliff, maybe he just didn’t care. Anyway the three were together when they sighted the Empress riding, her dead-lights gleaming, a ghost ship in night space.
She must have been an eerie sight because her other lights were on too, in addition to the red warnings at her nose. She seemed alive, a Flying Dutchman of space. Cliff worked his ship skillfully alongside and had no trouble in snapping magnetic lines to her lock. Some minutes later the three of them passed into her. There was still air in her cabins and corridors. Air that bore a faint corrupt taint which set Bat to sniffing greedily and could be picked up even by the less sensitive human nostrils.
Cliff headed straight for the control cabin but Steena and Bat went prowling. Closed doors were a challenge to both of them and Steena opened each as she passed, taking a quick look at what lay within. The fifth door opened on a room which no woman could leave without further investigation.
I don’t know who had been housed there when the Empress left port on her last lengthy cruise. Anyone really curious can check back on the old photo-reg cards. But there was a lavish display of silks trailing out of two travel kits on the floor, a dressing table crowded with crystal and jeweled containers, along with other lures for the female which drew Steena in. She was standing in front of the dressing table when she glanced into the mirror—glanced into it and froze.
Over her right shoulder she could see the spider-silk cover on the bed. Right in the middle of that sheer, gossamer expanse was a sparkling heap of gems, the dumped contents of some jewel case. Bat had jumped to the foot of the bed and flattened out as cats will, watching those gems, watching them and—something else!
Steena put out her hand blindly and caught up the nearest bottle. As she unstoppered it she watched the mirrored bed. A gemmed bracelet rose from the pile, rose in the air and tinkled its siren song. It was as if an idle hand played…. Bat spat almost noiselessly. But he did not retreat. Bat had not yet decided his course.
She put down the bottle. Then she did something which perhaps few of the men she had listened to through the years could have done. She moved without hurry or sign of disturbance on a tour about the room. And, although she approached the bed she did not touch the jewels. She could not force herself to that. It took her five minutes to play out her innocence and unconcern. Then it was Bat who decided the issue.
He leaped from the bed and escorted something to the door, remaining a careful distance behind. Then he mewed loudly twice. Steena followed him and opened the door wider.
Bat went straight on down the corridor, as intent as a hound on the warmest of scents. Steena strolled behind him, holding her pace to the unhurried gait of an explorer. What sped before them both was invisible to her but Bat was never baffled by it.
They must have gone into the control cabin almost on the heels of the unseen—if the unseen had heels, which there was good reason to doubt—for Bat crouched just within the doorway and refused to move on. Steena looked down the length of the instrument panels and officers’ station-seats to where Cliff Moran worked. On the heavy carpet her boots made no sound and he did not glance up but sat humming through set teeth as he tested the tardy and reluctant responses to buttons which had not been pushed in years.
To human eyes they were alone in the cabin. But Bat still followed a moving something with his gaze. And it was something which he had at last made up his mind to distrust and dislike. For now he took a step or two forward and spat—his loathing made plain by every raised hair along his spine. And in that same moment Steena saw a flicker—a flicker of vague outline against Cliff’s hunched shoulders as if the invisible one had crossed the space between them.
But why had it been revealed against Cliff and not against the back of one of the seats or against the panels, the walls of the corridor or the cover of the bed where it had reclined and played with its loot? What could Bat see?
The storehouse memory that had served Steena so well through the years clicked open a half-forgotten door. With one swift motion she tore loose her spaceall and flung the baggy garment across the back of the nearest seat.
Bat was snarling now, emitting the throaty rising cry that was his hunting song. But he was edging back, back toward Steena’s feet, shrinking from something he could not fight but which he faced defiantly. If he could draw it after him, past that dangling spaceall…. He had to—it was their only chance.
“What the….” Cliff had come out of his seat and was staring at them.
What he saw must have been weird enough. Steena, bare-armed and shouldered, her usually stiffly-netted hair falling wildly down her back, Steena watching empty space with narrowed eyes and set mouth, calculating a single wild chance. Bat, crouched on his belly, retreating from thin air step by step and wailing like a demon.
“Toss me your blaster.” Steena gave the order calmly—as if they still sat at their table in the Rigel Royal.
And as quietly Cliff obeyed. She caught the small weapon out of the air with a steady hand—caught and leveled it.
“Stay just where you are!” she warned. “Back, Bat, bring it back!”
With a last throat-splitting screech of rage and hate, Bat twisted to safety between her boots. She pressed with thumb and forefinger, firing at the spacealls. The material turned to powdery flakes of ash—except for certain bits which still flapped from the scorched seat—as if something had protected them from the force of the blast. Bat sprang straight up in the air with a scream that tore their ears.
“What…?” began Cliff again.
Steena made a warning motion with her left hand. “Wait!”
She was still tense, still watching Bat. The cat dashed madly around the cabin twice, running crazily with white-ringed eyes and flecks of foam on his muzzle. Then he stopped abruptly in the doorway, stopped and looked back over his shoulder for a long silent moment. He sniffed delicately.
Steena and Cliff could smell it too now, a thick oily stench which was not the usual odor left by an exploding blaster-shell.
Bat came back, treading daintily across the carpet, almost on the tips of his paws. He raised his head as he passed Steena and then he went confidently beyond to sniff, to sniff and spit twice at the unburned strips of the spaceall. Having thus paid his respects to the late enemy he sat down calmly and set to washing his fur with deliberation. Steena sighed once and dropped into the navigator’s seat.
“Maybe now you’ll tell me what in the hell’s happened?” Cliff exploded as he took the blaster out of her hand.
“Gray,” she said dazedly, “it must have been gray—or I couldn’t have seen it like that. I’m colorblind, you see. I can see only shades of gray—my whole world is gray. Like Bat’s—his world is gray too—all gray. But he’s been compensated for he can see above and below our range of color vibrations and—apparently—so can I!”
Her voice quavered and she raised her chin with a new air Cliff had never seen before—a sort of proud acceptance. She pushed back her wandering hair, but she made no move to imprison it under the heavy net again.
“It was curious at first, I think, and it knew we couldn’t see it—which is why it waited to attack. But when Bat’s actions gave it away it moved. So I waited to see that flicker against the spaceall and then I let him have it. It’s really very simple….”
Cliff laughed a bit shakily. “But what was this gray thing? I don’t get it.”
“I think it was what made the Empress a derelict. Something out of space, maybe, or from another world somewhere.” She waved her hands. “It’s invisible because it’s a color beyond our range of sight. It must have stayed in here all these years. And it kills—it must—when its curiosity is satisfied.” Swiftly she described the scene in the cabin and the strange behavior of the gem pile which had betrayed the creature to her.
Cliff did not return his blaster to its holder. “Any more of them on board, d’you think?” He didn’t look pleased at the prospect.
Steena turned to Bat. He was paying particular attention to the space between two front toes in the process of a complete bath. “I don’t think so. But Bat will tell us if there are. He can see them clearly, I believe.”
But there weren’t any more and two weeks later Cliff, Steena and Bat brought the Empress into the Lunar quarantine station. And that is the end of Steena’s story because, as we have been told, happy marriages need no chronicles. And Steena had found someone who knew of her gray world and did not find it too hard to share with her—someone besides Bat. It turned out to be a real love match.
The last time I saw her she was wrapped in a flame-red cloak from the looms of Rigel and wore a fortune in Jovan rubies blazing on her wrists. Cliff was flipping a three-figure credit bill to a waiter. And Bat had a row of Vernal juice glasses set up before him. Just a little family party out on the town
END.
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"Commentary on 'All Cats Are Gray'"
(c) 2011 by Jordan S. Bassior
At first sight this is a fairly standard science-fiction story: plucky heroes find derelict spaceship haunted by alien menace, defeat alien menace, gain love and fortune. It's most obviously derivative of C. L. Moore's "Northwest Smith" series, with hints of Stanley G. Weinbaum. The reason why this early work of Alice Mary ("Andre") Norton's is significant is the ways in which it specifically violates a major convention or character and plot, normal to the pulps of that era.
Namely, while the story has a hero and heroine, it is clearly the heroine who is the protagonist. The story starts with the unnamed narrator talking about how much he admires Steena. Steena is clearly a very intelligent woman who listens to rumors (and probably also researches data) to the point of being a highly-valued member of the spacefaring community. Implied in her ability to move safely amont the "stellar-port dives" is a certain streetwise; and in the main story she demonstrates calm, courage, and quick reactions in the face of unknown danger.
What's more, Steena lacks many of the attributes of a typical pulp science fiction heroine. She's neither beautiful nor seductive, and to the extent that she's being chased by men it's primarily for her knack at ferreting-out valuable information. Note her fundamental independence: she won't take drinks or other rewards from her male friends because she doesn't want to compromise her integrity and make them see her as in any way being like the other sort of female who would haunt predominantly-male bars. The only gift she accepts is the cat Bat, and that is because she clearly likes cats, a lot -- and accepting a cat from a man doesn't have the same social implications as would accepting a drink from him.
When she finally does decide to team up with a man, she is the one to make the first move. She clearly does so out of a desire to rescue him, to wit:
He’d had a spell of luck foul enough to twist a man into a slug-snake and we all knew that there was an attachment out for his ship. Cliff had fought his way up from the back courts of Venaport. Lose his ship and he’d slip back there—to rot. He was at the snarling stage that night when he picked out a table for himself and set out to drink away his troubles.
Which means that, if Steena had done nothing, Cliff probably would have gotten blind stinking drunk and then done something violently foolish, resulting in him being in even more trouble. Steena tells him the orbit of the Empress of Mars, and then stows away aboard the ship, both to make sure that Cliff succeeds, and because even at this point she is probably attracted to him.
When they get to the ship, it is Steena who notices the alien, in part due to her own unusual vision, and in part because she pays attention to Bat's reactions. Cliff is neither incompetent nor cowardly, but Steena is the one who takes charge, takes the blaster and shoots the alien. Instead of being offended by Steena's presumption of what in most stories would have been male prerogatives, Cliff is clearly impressed by Steena to the point where -- a few weeks later -- he marries her.
Steena, in short, finds the derelict's coordinates, leads the expedition there, defeats the guardian monster, gets the guy, and (implicitly) lives happily ever after. All pretty standard -- save for the gender flip. But that gender flip meant a lot, in 1953.
The premise was very obviously "What if a girl like an idealized version of me got to be the hero of an adventure and win a wonderful man?" Which was revolutionary, for its time, simply because so many stories -- even ones written by female authors -- never let the heroine outshine the hero (even Edgar Rice Burroughs, who often had very strong heroines indeed, always matched them with stronger heroes).
There were exceptions, but usually the the exceptions were femme fatales of morally-dubious status -- they tended to be either out-and-out villainesses or at best anti-heroines by the standards of the day. Steena's neither: she's clearly a good person who finds spacefarers fascinating and goes out of her way to help them, without sacrificing her own integrity.
There's an element of personal wish-fulfillment here, of course. But Steena's not that much of a Mary Sue: Andre Norton doesn't give her ridiculous advantages, and well-establishes long before she takes charge in the fight against the invisible beast that she knows how to get respect from the spacefaring adventurers around whom she's been for years by that point. Nor does she instantly morph into a beautiful seductress after she wins her fight and her man: she marries the man, and dresses better (in part because they are now rich), that's all. There's nothing really unbelievable about Steena.
Chronological Note: Andre Norton fans may find it of interest that this story may well take place in her main future history, sometime many centuries after Star Guard , centuries after the Second Atomic War and the Big Burn, and centuries before The Sioux Spacemen, probably in the late 6th or early 7th millennium, during a period after the fall of (the earlier) Central Control. For the evidence and argument, check out the Andre Norton Multiversal Timeline.
Final Note: The title can also be seen as having the double meaning of arguing that intellect and character should be valued more than mere physical beauty when selecting a mate, referencing the saying that "all cats are gray in the dark."
Final Note: The title can also be seen as having the double meaning of arguing that intellect and character should be valued more than mere physical beauty when selecting a mate, referencing the saying that "all cats are gray in the dark."
Great book!
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