Room 45 came in to see him. He was a mathematician, very tall and thin. He had an uncorrected walleye, so that you never could be sure whether he was looking at you and/or you were looking at him. He and Shevek had coexisted amicably, side by side in the Institute domicile, for a year, without ever saying a full sentence to each other.
Desar now came in and stared at or beside Shevek. “Anything?” he said.
“I’m doing fine, thanks.”
“What about bring dinner commons.”
“With yours?” Shevek said, influenced by Desar’s telegraphic style.
“All right.”
Desar brought two dinners on a tray over from the Institute refectory, and they ate together in Shevek’s room. He did the same morning and night for three days till Shevek felt up to going out again. It was hard to see why Desar did this. He was not friendly, and the expectations of brotherhood seemed to mean little to him. One reason he held aloof from people was to hide his dishonesty; he was either appallingly lazy or frankly propertarian, for Room 45 was full of stuff that he had no right or reason to keep—dishes from commons, books from libraries, a set of woodcarving tools from a craft-supply depot, a microscope from some laboratory, eight different blankets, a closet stuffed with clothes, some of which plainly did not fit Desar and never had, others of which appeared to be things he had worn when was eight or ten. It looked as if he went to depositories and warehouses and picked things up by the armload whether he needed them or not. “What do you keep all this junk for?” Shevek asked when he was first admitted to the room. Desar stared between him. “Just builds up,” he said vaguely.
Desar’s chosen field in mathematics was so esoteric that nobody in the Institute or the Math Federation could really check on his progress. That was precisely why he had chosen it. He assumed that Shevek’s motivation was the same. “Hell,” he said, “work? Good post here. Sequency, Simultaneity, shit.” At some moments Shevek liked Desar, and at others detested him, for the same qualities. He stuck to him, however, deliberately, as part of his resolution to change his life.
His illness had made him realize that if he tried to go on alone he would break down altogether. He saw this in moral terms, and judged himself ruthlessly. He had been keeping himself for himself, against the ethical imperative of brotherhood. Shevek at twenty-one was not a prig, exactly, because his morality was passionate and drastic; but it was still fitted to a rigid mold, the simplistic Odonianism taught to children by mediocre adults, an internalized preaching.
He had been doing wrong. He must do right. He did so.
He forbade himself physics five nights in ten. He volunteered for committee work in the Institute domicile management. He attended meetings of the Physics Federation and the Syndicate of Members of the Institute. He enrolled with a group who were practicing biofeedback exercises and brain-wave training. At the refectory he forced himself to sit down at the large tables, instead of at a small one with a book in front of him.
It was surprising: people seemed to have been waiting for him. They included him, welcomed him, invited him as bedfellow and companion. They took him about with them, and within three decads he learned more about Abbenay than he had in a year. He went with groups of cheerful young people to athletic fields, craft centers, swimming pools, festivals, museums, theaters, concerts.
The concerts: they were a revelation, a shock of joy.
He had never gone to a concert here in Abbenay, partly because he thought of music as something you do rather than something you hear. As a child he had always sung, or played one instrument or another, in local choirs and ensembles; he had enjoyed it very much, but had not had much talent. And that was all he knew of music.
Learning centers taught all the skills that prepare for the practice of art: training in singing, metrics, dance, the use of brush, chisel, knife, lathe, and so on. It was all pragmatic: the children learned to see, speak, hear, move, handle. No distinction was drawn between the arts and the crafts; art was not considered as having a place in life, but as being a basic technique of life, like speech. Thus architecture had developed, early and freely, a consistent style, pure and plain, subtle in proportion. Painting and sculpture