Robert Silverberg

Robert Silverberg

Summary

Portrait of Robert Silverberg Robert Silverberg There was an old woman— (1958)

We left the farm that night, scattering in every direction, anxious to begin life. All that went before was a dream from which we now awakened. We agreed to meet at the farm each year, on the anniversary of her death, in memory of the woman who had so painstakingly divided a zygote into thirty-two viable cells, and who had spent a score of years conducting an experiment based on a theory that had proven to be utterly false.
We felt no regret, no qualm. We had done what needed to be done, and on that last day some of us had finally functioned in the professions for which Mother had intended us.
Source: Gutenberg

Portrait of Robert Silverberg Robert Silverberg There was an old woman— (1958)

I knew my brother Leonard's cheekmole—the right cheek it was, setting him off from Jonas, whose left cheek was marked with a flyspeck. I knew the faint tilt of Peter's chin, the slight oversharpness of Dewey's nose, the florid tint of Donald's skin, I recognized Paul by his pendulous earlobes, Charles by his squint, Noel by the puckering of his lowerlip. David had a blue-stubbled face, Mark flaring nostrils, Claude thick brows.
Yes, there were differences. We rarely confused one with another.
Source: Gutenberg

Portrait of Robert Silverberg Robert Silverberg There was an old woman— (1958)

Claude and George jostling for room on the piano bench while they played Claude's four-hand sonata, Mark hurling a baseball through a front window, Peter declaiming a sequence of shocking sonnets during our communal dinner.
We fought, of course, since we were healthy individualists with sound bodies. Mother encouraged it; Saturday afternoon was wrestling time, and we pitted our growing strengths against one another.
Mother was always the dominant figure, striding tall and erect around the farm, calling to us in her familiar boom, assigning us chores, meeting with us privately.
Source: Gutenberg

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