The Coming of the Ice
Date: 2008-10-19T00:00:00+00:00
Keywords: Science fiction; Short stories

The Project Gutenberg eBook of The Coming of the Ice

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: The Coming of the Ice

Author: Green Peyton

Illustrator: Frank R. Paul

Release date: October 19, 2008 [eBook #26967]

Language: English

Credits: Produced by Greg Weeks, Stephen Blundell and the Online
Distributed Proofreading Team at http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK THE COMING OF THE ICE ***

The Coming of the Ice

By G. Peyton Wertenbaker

Strange men these creatures of the hundredth century ...

Copyright, 1926, by E. P. Co., Inc.

Transcriber's Note: This etext was produced from Amazing Stories July 1961 and was first published in Amazing Stories June 1926. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed. Minor spelling and typographical errors have been corrected without note.

A Classic Reprint from AMAZING STORIES, June, 1926
Introduction by Sam Moskowitz

One of the gravest editorial problems faced by the editors of AMAZING STORIES when they launched its first issue, dated April, 1926, was the problem of finding or developing authors who could write the type of story they needed. As a stop-gap, the first two issues of AMAZING STORIES were devoted entirely to reprints. But reprints were to constitute a declining portion of the publication's contents for the following four years. The first new story the magazine bought was Coming of the Ice, by G. Peyton Wertenbaker, which appeared in its third issue. Wertenbaker was not technically a newcomer to science fiction, since he had sold his first story to Gernsback's SCIENCE AND INVENTION, The Man From the Atom, in 1923 when he was only 16! Now, at the ripe old age of 19, he was appearing in the world's first truly complete science fiction magazine.

The scope of his imagination was truly impressive and, despite the author's youth, Coming of the Ice builds to a climax of considerable power.

Wertenbaker, under the name of Green Peyton, went on to sell his first novel, Black Cabin, in 1933. He eventually became an authority on the Southwest with many regional volumes to his credit: For God and Texas, America's Heartland, The Southwest, and San Antonio, City of the Sun. But he never lost his interest in space travel, assisting Hubertus Strughold on the writing of The Green and Red Planet, a scientific appraisal of the possibilities of life on the planet Mars published in 1953. He also served for a time as London correspondent for FORTUNE MAGAZINE.

It is strange to be alone, and so cold. To be the last man on earth....

The snow drives silently about me, ceaselessly, drearily. And I am isolated in this tiny white, indistinguishable corner of a blurred world, surely the loneliest creature in the universe. How many thousands of years is it since I last knew the true companionship? For a long time I have been lonely, but there were people, creatures of flesh and blood. Now they are gone. Now I have not even the stars to keep me company, for they are all lost in an infinity of snow and twilight here below.

If only I could know how long it has been since first I was imprisoned upon the earth. It cannot matter now. And yet some vague dissatisfaction, some faint instinct, asks over and over in my throbbing ears: What year? What year?

It was in the year 1930 that the great thing began in my life. There was then a very great man who performed operations on his fellows to compose their vitals—we called such men surgeons. John Granden wore the title "Sir" before his name, in indication of nobility by birth according to the prevailing standards in England. But surgery was only a hobby of Sir John's, if I must be precise, for, while he had achieved an enormous reputation as a surgeon, he always felt that his real work lay in the experimental end of his profession. He was, in a way, a dreamer, but a dreamer who could make his dreams come true.

I was a very close friend of Sir John's. In fact, we shared the same apartments in London. I have never forgotten that day when he first mentioned to me his momentous discovery. I had just come in from a long sleigh-ride in the country with Alice, and I was seated drowsily in the window-seat, writing idly in my mind a description of the wind and the snow and the grey twilight of the evening. It is strange, is it not, that my tale should begin and end with the snow and the twilight.

Sir John opened suddenly a door at one end of the room and came hurrying across to another door. He looked at me, grinning rather like a triumphant maniac.

"It's coming!" he cried, without pausing, "I've almost got it!" I smiled at him: he looked very ludicrous at that moment.

"What have you got?" I asked.

"Good Lord, man, the Secret—the Secret!" And then he was gone again, the door closing upon his victorious cry, "The Secret!"

I was, of course, amused. But I was also very much interested. I knew Sir John well enough to realize that, however amazing his appearance might be, there would be nothing absurd about his "Secret"—whatever it was. But it was useless to speculate. I could only hope for enlightenment at dinner. So I immersed myself in one of the surgeon's volumes from his fine Library of Imagination, and waited.

I think the book was one of Mr. H. G. Wells', probably "The Sleeper Awakes," or some other of his brilliant fantasies and predictions, for I was in a mood conducive to belief in almost anything when, later, we sat down together across the table. I only wish I could give some idea of the atmosphere that permeated our apartments, the reality it lent to whatever was vast and amazing and strange. You could then, whoever you are, understand a little the ease with which I accepted Sir John's new discovery.

He began to explain it to me at once, as though he could keep it to himself no longer.

"Did you think I had gone mad, Dennell?" he asked. "I quite wonder that I haven't. Why, I have been studying for many years—for most of my life—on this problem. And, suddenly, I have solved it! Or, rather, I am afraid I have solved another one much greater."

"Tell me about it, but for God's sake don't be technical."

"Right," he said. Then he paused. "Dennell, it's magnificent! It will change everything that is in the world." His eyes held mine suddenly with the fatality of a hypnotist's. "Dennell, it is the Secret of Eternal Life," he said.

"Good Lord, Sir John!" I cried, half inclined to laugh.

"I mean it," he said. "You know I have spent most of my life studying the processes of birth, trying to find out precisely what went on in the whole history of conception."

"You have found out?"

"No, that is just what amuses me. I have discovered something else without knowing yet what causes either process.

"I don't want to be technical, and I know very little of what actually takes place myself. But I can try to give you some idea of it."

It is thousands, perhaps millions of years since Sir John explained to me. What little I understood at the time I may have forgotten, yet I try to reproduce what I can of his theory.

"In my study of the processes of birth," he began, "I discovered the rudiments of an action which takes place in the bodies of both men and women. There are certain properties in the foods we eat that remain in the body for the reproduction of life, two distinct Essences, so to speak, of which one is retained by the woman, another by the man. It is the union of these two properties that, of course, creates the child.

"Now, I made a slight mistake one day in experimenting with a guinea-pig, and I re-arranged certain organs which I need not describe so that I thought I had completely messed up the poor creature's abdomen. It lived, however, and I laid it aside. It was some years later that I happened to notice it again. It had not given birth to any young, but I was amazed to note that it had apparently grown no older: it seemed precisely in the same state of growth in which I had left it.

"From that I built up. I re-examined the guinea-pig, and observed it carefully. I need not detail my studies. But in the end I found that my 'mistake' had in reality been a momentous discovery. I found that I had only to close certain organs, to re-arrange certain ducts, and to open certain dormant organs, and, mirabile dictu, the whole process of reproduction was changed.

"You have heard, of course, that our bodies are continually changing, hour by hour, minute by minute, so that every few years we have been literally reborn. Some such principle as this seems to operate in reproduction, except that, instead of the old body being replaced by the new, and in its form, approximately, the new body is created apart from it. It is the creation of children that causes us to die, it would seem, because if this activity is, so to speak, dammed up or turned aside into new channels, the reproduction operates on the old body, renewing it continually. It is very obscure and very absurd, is it not? But the most absurd part of it is that it is true. Whatever the true explanation may be, the fact remains that the operation can be done, that it actually prolongs life indefinitely, and that I alone know the secret."

Sir John told me a very great deal more, but, after all, I think it amounted to little more than this. It would be impossible for me to express the great hold his discovery took upon my mind the moment he recounted it. From the very first, under the spell of his personality, I believed, and I knew he was speaking the truth. And it opened up before me new vistas. I began to see myself become suddenly eternal, never again to know the fear of death. I could see myself storing up, century after century, an amplitude of wisdom and experience that would make me truly a god.

"Sir John!" I cried, long before he was finished. "You must perform that operation on me!"

"But, Dennell, you are too hasty. You must not put yourself so rashly into my hands."

"You have perfected the operation, haven't you?"

"That is true," he said.

"You must try it out on somebody, must you not?"

"Yes, of course. And yet—somehow, Dennell, I am afraid. I cannot help feeling that man is not yet prepared for such a vast thing. There are sacrifices. One must give up love and all sensual pleasure. This operation not only takes away the mere fact of reproduction, but it deprives one of all the things that go with sex, all love, all sense of beauty, all feeling for poetry and the arts. It leaves only the few emotions, selfish emotions, that are necessary to self-preservation. Do you not see? One becomes an intellect, nothing more—a cold apotheosis of reason. And I, for one, cannot face such a thing calmly."

"But, Sir John, like many fears, it is largely horrible in the foresight. After you have changed your nature you cannot regret it. What you are would be as horrible an idea to you afterwards as the thought of what you will be seems now."

"True, true. I know it. But it is hard to face, nevertheless."

"I am not afraid to face it."

"You do not understand it, Dennell, I am afraid. And I wonder whether you or I or any of us on this earth are ready for such a step. After all, to make a race deathless, one should be sure it is a perfect race."

"Sir John," I said, "it is not you who have to face this, nor any one else in the world till you are ready. But I am firmly resolved, and I demand it of you as my friend."

Well, we argued much further, but in the end I won. Sir John promised to perform the operation three days later.

... But do you perceive now what I had forgotten during all that discussion, the one thing I had thought I could never forget so long as I lived, not even for an instant? It was my love for Alice—I had forgotten that!

I cannot write here all the infinity of emotions I experienced later, when, with Alice in my arms, it suddenly came upon me what I had done. Ages ago—I have forgotten how to feel. I could name now a thousand feelings I used to have, but I can no longer even understand them. For only the heart can understand the heart, and the intellect only the intellect.

With Alice in my arms, I told the whole story. It was she who, with her quick instinct, grasped what I had never noticed.

"But Carl!" she cried, "Don't you see?—It will mean that we can never be married!" And, for the first time, I understood. If only I could re-capture some conception of that love! I have always known, since the last shred of comprehension slipped from me, that I lost something very wonderful when I lost love. But what does it matter? I lost Alice too, and I could not have known love again without her.

We were very sad and very tragic that night. For hours and hours we argued the question over. But I felt somewhat that I was inextricably caught in my fate, that I could not retreat now from my resolve. I was perhaps, very school-boyish, but I felt that it would be cowardice to back out now. But it was Alice again who perceived a final aspect of the matter.

"Carl," she said to me, her lips very close to mine, "it need not come between our love. After all, ours would be a poor sort of love if it were not more of the mind than of the flesh. We shall remain lovers, but we shall forget mere carnal desire. I shall submit to that operation too!"

And I could not shake her from her resolve. I would speak of danger that I could not let her face. But, after the fashion of women, she disarmed me with the accusation that I did not love her, that I did not want her love, that I was trying to escape from love. What answer had I for that, but that I loved her and would do anything in the world not to lose her?

I have wondered sometimes since whether we might have known the love of the mind. Is love something entirely of the flesh, something created by an ironic God merely to propagate His race? Or can there be love without emotion, love without passion—love between two cold intellects? I do not know. I did not ask then. I accepted anything that would make our way more easy.

There is no need to draw out the tale. Already my hand wavers, and my time grows short. Soon there will be no more of me, no more of my tale—no more of Mankind. There will be only the snow, and the ice, and the cold ...

Three days later I entered John's Hospital with Alice on my arm. All my affairs—and they were few enough—were in order. I had insisted that Alice wait until I had come safely through the operation, before she submitted to it. I had been carefully starved for two days, and I was lost in an unreal world of white walls and white clothes and white lights, drunk with my dreams of the future. When I was wheeled into the operating room on the long, hard table, for a moment it shone with brilliant distinctness, a neat, methodical white chamber, tall and more or less circular. Then I was beneath the glare of soft white lights, and the room faded into a misty vagueness from which little steel rays flashed and quivered from silvery cold instruments. For a moment our hands, Sir John's and mine, gripped, and we were saying good-bye—for a little while—in the way men say these things. Then I felt the warm touch of Alice's lips upon mine, and I felt sudden painful things I cannot describe, that I could not have described then. For a moment I felt that I must rise and cry out that I could not do it. But the feeling passed, and I was passive.

Something was pressed about my mouth and nose, something with an ethereal smell. Staring eyes swam about me from behind their white masks. I struggled instinctively, but in vain—I was held securely. Infinitesimal points of light began to wave back and forth on a pitch-black background; a great hollow buzzing echoed in my head. My head seemed suddenly to have become all throat, a great, cavernous, empty throat in which sounds and lights were mingled together, in a swift rhythm, approaching, receding eternally. Then, I think, there were dreams. But I have forgotten them....

I began to emerge from the effect of the ether. Everything was dim, but I could perceive Alice beside me, and Sir John.

"Bravely done!" Sir John was saying, and Alice, too, was saying something, but I cannot remember what. For a long while we talked, I speaking the nonsense of those who are coming out from under ether, they teasing me a little solemnly. But after a little while I became aware of the fact that they were about to leave. Suddenly, God knows why, I knew that they must not leave. Something cried in the back of my head that they must stay—one cannot explain these things, except by after events. I began to press them to remain, but they smiled and said they must get their dinner. I commanded them not to go; but they spoke kindly and said they would be back before long. I think I even wept a little, like a child, but Sir John said something to the nurse, who began to reason with me firmly, and then they were gone, and somehow I was asleep....

When I awoke again, my head was fairly clear, but there was an abominable reek of ether all about me. The moment I opened my eyes, I felt that something had happened. I asked for Sir John and for Alice. I saw a swift, curious look that I could not interpret come over the face of the nurse, then she was calm again, her countenance impassive. She reassured me in quick meaningless phrases, and told me to sleep. But I could not sleep: I was absolutely sure that something had happened to them, to my friend and to the woman I loved. Yet all my insistence profited me nothing, for the nurses were a silent lot. Finally, I think, they must have given me a sleeping potion of some sort, for I fell asleep again.

For two endless, chaotic days, I saw nothing of either of them, Alice or Sir John. I became more and more agitated, the nurse more and more taciturn. She would only say that they had gone away for a day or two.

And then, on the third day, I found out. They thought I was asleep. The night nurse had just come in to relieve the other.

"Has he been asking about them again?" she asked.

"Yes, poor fellow. I have hardly managed to keep him quiet."

"We will have to keep it from him until he is recovered fully." There was a long pause, and I could hardly control my labored breathing.

"How sudden it was!" one of them said. "To be killed like that—" I heard no more, for I leapt suddenly up in bed, crying out.

"Quick! For God's sake, tell me what has happened!" I jumped to the floor and seized one of them by the collar. She was horrified. I shook her with a superhuman strength.

"Tell me!" I shouted, "Tell me—Or I'll—!" She told me—what else could she do.

"They were killed in an accident," she gasped, "in a taxi—a collision—the Strand—!" And at that moment a crowd of nurses and attendants arrived, called by the other frantic woman, and they put me to bed again.

I have no memory of the next few days. I was in delirium, and I was never told what I said during my ravings. Nor can I express the feelings I was saturated with when at last I regained my mind again. Between my old emotions and any attempt to put them into words, or even to remember them, lies always that insurmountable wall of my Change. I cannot understand what I must have felt, I cannot express it.

I only know that for weeks I was sunk in a misery beyond any misery I had ever imagined before. The only two friends I had on earth were gone to me. I was left alone. And, for the first time, I began to see before me all these endless years that would be the same, dull, lonely.

Yet I recovered. I could feel each day the growth of a strange new vigor in my limbs, a vast force that was something tangibly expressive to eternal life. Slowly my anguish began to die. After a week more, I began to understand how my emotions were leaving me, how love and beauty and everything of which poetry was made—how all this was going. I could not bear the thought at first. I would look at the golden sunlight and the blue shadow of the wind, and I would say,

"God! How beautiful!" And the words would echo meaninglessly in my ears. Or I would remember Alice's face, that face I had once loved so inextinguishably, and I would weep and clutch my forehead, and clench my fists, crying,

"O God, how can I live without her!" Yet there would be a little strange fancy in my head at the same moment, saying,

"Who is this Alice? You know no such person." And truly I would wonder whether she had ever existed.

So, slowly, the old emotions were shed away from me, and I began to joy in a corresponding growth of my mental perceptions. I began to toy idly with mathematical formulae I had forgotten years ago, in the same fashion that a poet toys with a word and its shades of meaning. I would look at everything with new, seeing eyes, new perception, and I would understand things I had never understood before, because formerly my emotions had always occupied me more than my thoughts.

And so the weeks went by, until, one day, I was well.

... What, after all, is the use of this chronicle? Surely there will never be men to read it. I have heard them say that the snow will never go. I will be buried, it will be buried with me; and it will be the end of us both. Yet, somehow, it eases my weary soul a little to write....

Need I say that I lived, thereafter, many thousands of thousands of years, until this day? I cannot detail that life. It is a long round of new, fantastic impressions, coming dream-like, one after another, melting into each other. In looking back, as in looking back upon dreams, I seem to recall only a few isolated periods clearly; and it seems that my imagination must have filled in the swift movement between episodes. I think now, of necessity, in terms of centuries and millenniums, rather than days and months.... The snow blows terribly about my little fire, and I know it will soon gather courage to quench us both ...

Years passed, at first with a sort of clear wonder. I watched things that took place everywhere in the world. I studied. The other students were much amazed to see me, a man of thirty odd, coming back to college.

"But Judas, Dennell, you've already got your Ph.D! What more do you want?" So they would all ask me. And I would reply;

"I want an M.D. and an F.R.C.S." I didn't tell them that I wanted degrees in Law, too, and in Biology and Chemistry, in Architecture and Engineering, in Psychology and Philosophy. Even so, I believe they thought me mad. But poor fools! I would think. They can hardly realize that I have all of eternity before me to study.

I went to school for many decades. I would pass from University to University, leisurely gathering all the fruits of every subject I took up, revelling in study as no student revelled ever before. There was no need of hurry in my life, no fear of death too soon. There was a magnificence of vigor in my body, and a magnificence of vision and clarity in my brain. I felt myself a super-man. I had only to go on storing up wisdom until the day should come when all knowledge of the world was mine, and then I could command the world. I had no need for hurry. O vast life! How I gloried in my eternity! And how little good it has ever done me, by the irony of God.

For several centuries, changing my name and passing from place to place, I continued my studies. I had no consciousness of monotony, for, to the intellect, monotony cannot exist: it was one of those emotions I had left behind. One day, however, in the year 2132, a great discovery was made by a man called Zarentzov. It had to do with the curvature of space, quite changing the conceptions that we had all followed since Einstein. I had long ago mastered the last detail of Einstein's theory, as had, in time, the rest of the world. I threw myself immediately into the study of this new, epoch-making conception.

To my amazement, it all seemed to me curiously dim and elusive. I could not quite grasp what Zarentzov was trying to formulate.

"Why," I cried, "the thing is a monstrous fraud!" I went to the professor of Physics in the University I then attended, and I told him it was a fraud, a huge book of mere nonsense. He looked at me rather pityingly.

"I am afraid, Modevski," he said, addressing me by the name I was at the time using, "I am afraid you do not understand it, that is all. When your mind has broadened, you will. You should apply yourself more carefully to your Physics." But that angered me, for I had mastered my Physics before he was ever born. I challenged him to explain the theory. And he did! He put it, obviously, in the clearest language he could. Yet I understood nothing. I stared at him dumbly, until he shook his head impatiently, saying that it was useless, that if I could not grasp it I would simply have to keep on studying. I was stunned. I wandered away in a daze.

For do you see what happened? During all those years I had studied ceaselessly, and my mind had been clear and quick as the day I first had left the hospital. But all that time I had been able only to remain what I was—an extraordinarily intelligent man of the twentieth century. And the rest of the race had been progressing! It had been swiftly gathering knowledge and power and ability all that time, faster and faster, while I had been only remaining still. And now here was Zarentzov and the teachers of the Universities, and, probably, a hundred intelligent men, who had all outstripped me! I was being left behind.

And that is what happened. I need not dilate further upon it. By the end of that century I had been left behind by all the students of the world, and I never did understand Zarentzov. Other men came with other theories, and these theories were accepted by the world. But I could not understand them. My intellectual life was at an end. I had nothing more to understand. I knew everything I was capable of knowing, and, thenceforth, I could only play wearily with the old ideas.

Many things happened in the world. A time came when the East and West, two mighty unified hemispheres, rose up in arms: the civil war of a planet. I recall only chaotic visions of fire and thunder and hell. It was all incomprehensible to me: like a bizarre dream, things happened, people rushed about, but I never knew what they were doing. I lurked during all that time in a tiny shuddering hole under the city of Yokohama, and by a miracle I survived. And the East won. But it seems to have mattered little who did win, for all the world had become, in all except its few remaining prejudices, a single race, and nothing was changed when it was all rebuilt again, under a single government.

I saw the first of the strange creatures who appeared among us in the year 6371, men who were later known to be from the planet Venus. But they were repulsed, for they were savages compared with the Earthmen, although they were about equal to the people of my own century, 1900. Those of them who did not perish of the cold after the intense warmth of their world, and those who were not killed by our hands, those few returned silently home again. And I have always regretted that I had not the courage to go with them.

I watched a time when the world reached perfection in mechanics, when men could accomplish anything with a touch of the finger. Strange men, these creatures of the hundredth century, men with huge brains and tiny shriveled bodies, atrophied limbs, and slow, ponderous movements on their little conveyances. It was I, with my ancient compunctions, who shuddered when at last they put to death all the perverts, the criminals, and the insane, ridding the world of the scum for which they had no more need. It was then that I was forced to produce my tattered old papers, proving my identity and my story. They knew it was true, in some strange fashion of theirs, and, thereafter, I was kept on exhibition as an archaic survival.

I saw the world made immortal through the new invention of a man called Kathol, who used somewhat the same method "legend" decreed had been used upon me. I observed the end of speech, of all perceptions except one, when men learned to communicate directly by thought, and to receive directly into the brain all the myriad vibrations of the universe.

All these things I saw, and more, until that time when there was no more discovery, but a Perfect World in which there was no need for anything but memory. Men ceased to count time at last. Several hundred years after the 154th Dynasty from the Last War, or, as we would have counted in my time, about 200,000 A.D., official records of time were no longer kept carefully. They fell into disuse. Men began to forget years, to forget time at all. Of what significance was time when one was immortal?

After long, long uncounted centuries, a time came when the days grew noticeably colder. Slowly the winters became longer, and the summers diminished to but a month or two. Fierce storms raged endlessly in winter, and in summer sometimes there was severe frost, sometimes there was only frost. In the high places and in the north and the sub-equatorial south, the snow came and would not go.

Men died by the thousands in the higher latitudes. New York became, after awhile, the furthest habitable city north, an arctic city, where warmth seldom penetrated. And great fields of ice began to make their way southward, grinding before them the brittle remains of civilizations, covering over relentlessly all of man's proud work.

Snow appeared in Florida and Italy one summer. In the end, snow was there always. Men left New York, Chicago, Paris, Yokohama, and everywhere they traveled by the millions southward, perishing as they went, pursued by the snow and the cold, and that inevitable field of ice. They were feeble creatures when the Cold first came upon them, but I speak in terms of thousands of years; and they turned every weapon of science to the recovery of their physical power, for they foresaw that the only chance for survival lay in a hard, strong body. As for me, at last I had found a use for my few powers, for my physique was the finest in that world. It was but little comfort, however, for we were all united in our awful fear of that Cold and that grinding field of Ice. All the great cities were deserted. We would catch silent, fearful glimpses of them as we sped on in our machines over the snow—great hungry, haggard skeletons of cities, shrouded in banks of snow, snow that the wind rustled through desolate streets where the cream of human life once had passed in calm security. Yet still the Ice pursued. For men had forgotten about that Last Ice Age when they ceased to reckon time, when they lost sight of the future and steeped themselves in memories. They had not remembered that a time must come when Ice would lie white and smooth over all the earth, when the sun would shine bleakly between unending intervals of dim, twilight snow and sleet.

Slowly the Ice pursued us down the earth, until all the feeble remains of civilization were gathered in Egypt and India and South America. The deserts flowered again, but the frost would come always to bite the tiny crops. For still the Ice came. All the world now, but for a narrow strip about the equator, was one great silent desolate vista of stark ice-plains, ice that brooded above the hidden ruins of cities that had endured for hundreds of thousands of years. It was terrible to imagine the awful solitude and the endless twilight that lay on these places, and the grim snow, sailing in silence over all....

It surrounded us on all sides, until life remained only in a few scattered clearings all about that equator of the globe, with an eternal fire going to hold away the hungry Ice. Perpetual winter reigned now; and we were becoming terror-stricken beasts that preyed on each other for a life already doomed. Ah, but I, I the archaic survival, I had my revenge then, with my great physique and strong jaws—God! Let me think of something else. Those men who lived upon each other—it was horrible. And I was one.

So inevitably the Ice closed in.... One day the men of our tiny clearing were but a score. We huddled about our dying fire of bones and stray logs. We said nothing. We just sat, in deep, wordless, thoughtless silence. We were the last outpost of Mankind.

I think suddenly something very noble must have transformed these creatures to a semblance of what they had been of old. I saw, in their eyes, the question they sent from one to another, and in every eye I saw that the answer was, Yes. With one accord they rose before my eyes and, ignoring me as a baser creature, they stripped away their load of tattered rags and, one by one, they stalked with their tiny shrivelled limbs into the shivering gale of swirling, gusting snow, and disappeared. And I was alone....

So am I alone now. I have written this last fantastic history of myself and of Mankind upon a substance that will, I know, outlast even the snow and the Ice—as it has outlasted Mankind that made it. It is the only thing with which I have never parted. For is it not irony that I should be the historian of this race—I, a savage, an "archaic survival?" Why do I write? God knows, but some instinct prompts me, although there will never be men to read.

I have been sitting here, waiting, and I have thought often of Sir John and Alice, whom I loved. Can it be that I am feeling again, after all these ages, some tiny portion of that emotion, that great passion I once knew? I see her face before me, the face I have lost from my thoughts for eons, and something is in it that stirs my blood again. Her eyes are half-closed and deep, her lips are parted as though I could crush them with an infinity of wonder and discovery. O God! It is love again, love that I thought was lost! They have often smiled upon me when I spoke of God, and muttered about my foolish, primitive superstitions. But they are gone, and I am left who believe in God, and surely there is purpose in it.

I am cold, I have written. Ah, I am frozen. My breath freezes as it mingles with the air, and I can hardly move my numbed fingers. The Ice is closing over me, and I cannot break it any longer. The storm cries weirdly all about me in the twilight, and I know this is the end. The end of the world. And I—I, the last man....

The last man....

... I am cold—cold....

But is it you, Alice? Is it you?

THE END

*** END OF THE PROJECT GUTENBERG EBOOK THE COMING OF THE ICE ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

Table of Contents

- The Coming of the Ice

- A Classic Reprint from AMAZING STORIES, June, 1926 Introduction by Sam Moskowitz

- THE FULL PROJECT GUTENBERG LICENSE