J. G. Ballard

This time he found himself, as Osborne had predicted, unable to leave the blocks.

Somewhere in the shifting center of the maze, he sat with his back against one of the concrete flanks, his eyes raised to the sun. Around him the lines of cubes formed the horizons of his world. At times they would appear to advance toward him, looming over him like cliffs, the intervals between them narrowing so that they were little more than an arm's length apart, a labyrinth of narrow corridors running between them. Then they would recede from him, separating from each other like points in an expanding universe, until the nearest line formed an intermittent palisade along the horizon.

Time had become quantal. For hours it would be noon, the shadows contained within the motionless bulk of the blocks, the heat reverberating off the concrete floor. Abruptly he would find it was early afternoon or evening, the shadows everywhere like pointing fingers.

"Good-bye, Eniwetok," he murmured.

Somewhere there was a flicker of light, as if one of the blocks, like a counter on an abacus, had been plucked away.

"Good-bye, Los Alamos." Again a block seemed to vanish. The corridors around him remained intact, but somewhere, Traven was convinced, in the matrix superimposed on his mind, a small interval of neutral space had been punched.

Good-bye, Hiroshima.

Good-bye, Alamogordo.

Good-bye, Moscow, London, Paris, New York . . .

Shuttles flickered, a ripple of integers. Traven stopped, accepting the futility of this megathlon farewell. Such a leave-taking required him to fix his signature on every one of the particles in the universe.

—"The Terminal Beach," 1964