Gummitch peered thoughtfully at the molten silver image of the sun in his little bowl of water on the floor inside the kitchen window. He knew from experience that it would make dark ghost suns swim in front of his eyes for a few moments, and that was mildly interesting. Then he slowly thrust his head out over the water, careful not to ruffle its surface by rough breathing, and stared down at the mirror cat--the Gummitch Double--staring up at him.
Gummitch had early discovered that water mirrors are very different from most glass mirrors. The scentless spirit world behind glass mirrors is an upright one sharing our gravity system, its floor a continuation of the floor in the so-called real world. But the world in a water mirror has reverse gravity. One looks down into it, but the spirit-doubles in it look up at one. In a way water mirrors are holes or pits in the world, leading down to a spirit infinity or ghostly nadir.
Gummitch had pondered as to whether, if he plunged into such a pit, he would be sustained by the spirit gravity or fall forever. (It may well be that speculations of this sort account for the caution about swimming characteristic of most cats.)
There was at least one exception to the general rule. The looking glass on Kitty-Come-Here’s dressing table also opened into a spirit world of reverse gravity, as Gummitch had discovered when he happened to look into it during one of the regular visits he made to the dressing table top, to enjoy the delightful flowery and musky odors emanating from the fragile bottles assembled there.
But exceptions to general rules, as Gummitch knew well, are only doorways to further knowledge and finer classifications. The wind could not get into the spirit world below Kitty-Come-Here’s looking glass, while one of the definitive characteristics of water mirrors is that movement can very easily enter the spirit world below them, rhythmically disturbing it throughout, producing the most surreal effects, and even reducing it to chaos. Such disturbances exist only in the spirit world and are in no way a mirroring of anything in the real world: Gummitch knew that his paw did not change when it flicked the surface of the water, although the image of his paw burst into a hundred flickering fragments. (Both cats and primitive men first deduced that the world in a water mirror is a spirit world because they saw that its inhabitants were easily blown apart by the wind and must therefore be highly tenuous, though capable of regeneration.)
Gummitch mildly enjoyed creating rhythmic disturbances in the spirit worlds below water mirrors. He wished there were some way to bring their excitement and weird beauty into the real world.
On this sunny day when our story begins, the spirit world below the water mirror in his drinking bowl was particularly vivid and bright. Gummitch stared for a while longer at the Gummitch Double and then thrust down his tongue to quench his thirst. Curling swiftly upward, it conveyed a splash of water into his mouth and also flicked a single drop of water into the air before his nose. The sun struck the drop and it flashed like a diamond. In fact, it seemed to Gummitch that for a moment he had juggled the sun on his tongue. He shook his head amazedly and touched the side of the bowl with his paw. The bowl was brimful and a few drops fell out; they also flashed like tiny suns as they fell. Gummitch had a fleeting vision, a momentary creative impulse, that was gone from his mind before he could seize it. He shook his head once more, backed away from the bowl, and then lay down with his head pillowed on his paws to contemplate the matter. The room darkened as the sun went under a cloud and the young golden dark-barred cat looked like a pool of sunlight left behind.
Kitty-Come-Here had watched the whole performance from the door to the dining room and that evening she commented on it to Old Horsemeat.
“He backed away from the water as if it were poison,” she said. “They have been putting more chlorine in it lately, you know, and maybe he can taste the fluorides they put in for dental decay.”
Old Horsemeat doubted that, but his wife went on, “I can’t figure out where Gummitch does his drinking these days. There never seems to be any water gone from his bowl. And we haven’t had any cut flowers. And none of the faucets drip.”
“He probably does his drinking somewhere outside,” Old Horsemeat guessed.
“But he doesn’t go outside very often these days,” Kitty-Come-Here countered. “Scarface and the Mad Eunuch, you know. Besides, it hasn’t rained for weeks. It’s certainly a mystery to me where he gets his liquids. Boiling gets the chlorine out of water, doesn’t it? I think I’ll try him on some tomorrow.”
“Maybe he’s depressed,” Old Horsemeat suggested. “That often leads to secret drinking.”
This baroque witticism hit fairly close to the truth. Gummitch was depressed--had been depressed ever since he had lost his kittenish dreams of turning into a man, achieving spaceflight, learning and publishing all the secrets of the fourth dimension, and similar marvels. The black cloud of disillusionment at realizing he could only be a cat had lightened somewhat, but he was still feeling dull and unfulfilled.
Gummitch was at that difficult age for he-cats, between First Puberty, when the cat achieves essential maleness, and Second Puberty, when he gets broad-chested, jowly and thick-ruffed, becoming a fully armed sexual competitor. In the ordinary course of things he would have been spending much of his time exploring the outer world, detail-mapping the immediate vicinity, spying on other cats, making cautious approaches to unescorted females and in all ways comporting himself like a fledgling male. But this was prevented by the two burly toms who lived in the houses next door and who, far more interested in murder than the pursuit of mates, had entered into partnership with the sole object of bushwacking Gummitch. Gummitch’s household had nicknamed them Scarface and the Mad Eunuch, the latter being one of those males whom “fixing” turns, not placid, but homicidally maniacal. Compared to these seasoned heavyweights, Gummitch was a welterweight at most. Scarface and the Mad Eunuch lay in wait for him by turns just beyond the kitchen door, so that his forays into the outside world were largely reduced to dashes for some hiding hole, followed by long, boring but perilous sieges.
He often wished that old Horsemeat’s two older cats, Ashurbanipal and Cleopatra, had not gone to the country to live with Old Horsemeat’s mother. They would have shown the evil bushwackers a thing or two!
Because of Scarface and the Mad Eunuch, Gummitch spent most of his time indoors. Since a cat is made for a half-and-half existence--half in the wild forest, half in the secure cave--he took to brooding quite morbidly. He thought over-much of ghost cats in the mirror world and of the Skeleton Cat who starved to death in a locked closet and similar grisly legends. He immersed himself in racial memories, not so much of Ancient Egypt where cats were prized as minions of the lovely cat-goddess Bast and ceremoniously mummified at the end of tranquil lives, as of the Middle Ages, when European mankind waged a genocidal war against felines as being the familiars of witches. (He thought briefly of turning Kitty-Come-Here into a witch, but his hypnotic staring and tentative ritualistic mewing only made her fidgety.) And he devoted more and more time to devising dark versions of the theory of transmigration, picturing cats as Silent Souls, Gagged People of Great Talent, and the like.
He had become too self-conscious to re-enter often the make-believe world of the kitten, yet his imagination remained as active as ever. It was a truly frustrating predicament.
More and more often and for longer periods he retired to meditate in a corrugated cardboard shoebox, open only at one end. The cramped quarters made it easier for him to think. Old Horsemeat called it the Cat Orgone Box after the famed Orgone Energy Accumulators of the late wildcat psychoanalyst Dr. Wilhelm Reich.
If only, Gummitch thought, he could devise some way of objectifying the intimations of beauty that flitted through his darkly clouded mind! Now, on the evening of the sunny day when he had backed away from his water bowl, he attacked the problem anew. He knew he had been fleetingly on the verge of a great idea, an idea involving water, light and movement. An idea he had unfortunately forgotten. He closed his eyes and twitched his nose. I must concentrate, he thought to himself, concentrate...
Next day Kitty-Come-Here remembered her idea about Gummitch’s water. She boiled two cupfuls in a spotless enamelware saucepan, letting it cool for half an hour before using it to replace the seemingly offensive water in the young cat’s bowl. It was only then she noticed that the bowl had been upset.
She casually assumed that big-footed Old Horsemeat must have been responsible for the accident, or possibly one of the two children--darting Sissy or blundering Baby. She wiped the bowl and filled it with the water she had dechlorinated.
“Come here, Kitty, come here,” she called to Gummitch, who had been watching her actions attentively from the dining room door. The young cat stayed where he was. “Oh, well, if you want to be coy,” she said, shrugging her shoulders.
There was a mystery about the spilled water. It had apparently disappeared entirely, though the day seemed hardly dry enough for total evaporation. Then she saw it standing in a puddle by the wall fully ten feet away from the bowl. She made a quick deduction and frowned a bit worriedly.