Klein used organ music, usually lush garbled Romantic masterpieces or what he called Atomic Bach. Fenrick had the edge in system power, but most of that year's music was not as dense as, say, Heavy Metal had been in its prime, and so this difference was usually erased by the thinness of his ammunition. This did not mean, however, that we had any trouble hearing him.The Systems would trade salvos as the volume controls were brought up as high as they could go, the screaming-guitars-from-Hell power chords on one side matched by the subterranean grease-gun blasts of the 32-foot reed stops on the other. As both recordings piled into the thick of things, the combatants would turn to their long thin frequency equalizers and shove all channels up to full blast like Mr. Spock beaming a live antimatter bomb into Deep Space. Finally the filters would be thrown off and the loudness switches on, and the speakers would distort and crackle with strain as huge wattages pulsed through their magnet coils. Sometimes Klein would use Bach's "Passacaglia and Fugue in C Minor," and at the end of each phrase the bass line would plunge back down home to that old low C, and Klein's sub-woofers would pick up the temblor of the 64-foot pipes and magnify it until he could watch the naked speaker cones thrash away at in the air. This particular note happened to be the natural resonating frequency of the main hallways, which were cut into 64-foot, 3-inch halves by the fire doors (Klein and I measured one while drunk), and therefore the resonant frequency of every other hall in every other wing of all the towers of the Plex, and so at these moments everything in the world would vibrate at sixteen cycles per second; beds would tremble, large objects would float off the edges of tables, and tables and chairs themselves would buzz around the rooms of their own volition. The occasional wandering bat who might be in the hall would take off in random flight, his sensors jammed by the noise, beating his wings against the standing waves in the corridor in an effort to escape.

The Resident Assistant, or RA, was a reclusive Social Work major who, intuitively knowing she was never going to get a job, spent her time locked in her little room testing perfumes and watching MTV under a set of headphones. She could not possibly help.

That made it my responsibility. I lived on EO7S that year as faculty-in-residence. I had just obtained my Ph.D. from Ohio State in an interdisciplinary field called Remote Sensing, and was a brand-shiny-new associate professor at the Big U.

Now, at the little southern black college where I went to school, we had no megadorms. We were cool at the right times and academic at the right times and we had neither Kleins nor Fenricks. Boston University, where I did my Master's, had pulled through its crisis when I got there; most students had no time for sonic war, and the rest vented their humors in the city, not in the dorms. Ohio State was nicely spread out, and I lived in an apartment complex where noisy shit-for-brains undergrads were even less welcome than tweedy black bachelors. I just did not know what to make of Klein and Fenrick; I did not handle them well at all. As a matter of fact, most of my time at the Big U was spent observing and talking, and very little doing, and I may bear some of the blame.

This is a history, in that it intends to describe what happened and suggest why. It is a work of the imagination in that by writing it I hope to purge the Big U from my system, and with it all my bitterness and contempt. I may have fooled around with a few facts. But I served as witness until as close to the end as anyone could have, and I knew enough of the major actors to learn about what I didn't witness, and so there is not so much art in this as to make it irrelevant. What you are about to read is not an aberration: it can happen in your local university too. The Big U, simply, was a few years ahead of the rest.

On back-to-school day, Sarah Jane Johnson and Casimir Radon waited, for a while, in line together. At the time they did not know each other. Sarah had just found that she had no place to live, and was suffering that tense and lonely feeling that sets in when you have no place to hide. Casimir was just discovering that American Megaversity was a terrible place, and was not happy either.

After they had worked their way down the hail and into the office of the Dean of the College of Sciences and Humanities, they sat down next to each other on the scratchy Dayglo orange chairs below the Julian Didius III Memorial Window. The sunlight strained in greyly over their shoulders, and occasionally they turned to look at the scene outside.

Below them on one of the Parkway off-ramps a rented truck from Maryland had tried to pass under a low bridge, its student driver forgetting that he was in a truck and not his Trans-Am. Upon impact, the steel molding that fastened the truck's top to its sides had wrapped itself around the frame of a green highway sign bolted to the bridge. Now the sign, which read:

AMERICAN MEGAVERSITY

VISITOR PARKING

SPORTS EVENTS

EXIT 500 FT

was suspended in the air at the end of a long strip of truck that had been peeled up and aside.

A small crowd students, apparently finished with all their line-waiting, stood on the bridge and beside the ramp, throwing Frisbees and debris into the torn-open back of the truck, where its renters lounged in sofas and recliners and drank beer, and threw the projectiles back. Sarah thought it was idiotic, and Casimir couldn't understand it at all.

Out in the hallway, people behind them in the line were being verbally abused by an old derelict who had penetrated the Plex security system. "The only degree you kids deserve is the third degree!" he shouted, waving his arms and staggering in place. He wore a ratty tweed jacket whose elbow patches flapped like vestigial wings, and he drank in turns from a bottle of Happy's vodka and a Schlitz tall-boy which he kept holstered in his pockets. He had the full attention of the students, who were understandably bored, and most of them laughed and tried to think of provocative remarks.

As the drunk was wading toward them, one asked another how her summer had been. "What about it?" asked the derelict. "Fiscal conservatism? Fine in theory! Tough, though! You have to be tough and humane together, you see, the two opposites must unite in one great leader! Can't be a damn dictator like S. S. Krupp!" This brought cheers and laughter from the upperclassmen, who had just decided the drunk was a cool guy. Septimius Severus Krupp, the President of American Megaversity, was not popular. "Jesus Christ!" he continued through the laughter, "What the hell are they teaching you savages these days? You need a spanking! No more circuses. Maybe a dictator is just what you need! Alcibiades! Pompilius Numa! They'd straighten things out good and fast."

Sarah knew the man. He liked to break into classes at the Big U and lecture the professors, who usually were at a loss as to how to deal with him. His name was Bert Nix. He had taken quite a shine to Sarah: for her part, she did not know whether or not to be scared of him. During the preceding spring's student government campaign, Bert Nix had posed with Sarah for a campaign photo which had then appeared on posters all over the Plex. This was just the kind of thing that Megaversity students regarded as a sign of greatness, so she had won, despite progressive political ideas which, as it turned out, nobody was even aware of. This was all hard for Sarah to believe. She felt that Bert Nix had been elected President, not the woman he had appeared with on the campaign poster, and she felt obliged to listen to him even when he simply jabbered for hours on end. He was a nice lunatic, but he was adrift in the Bert Nix universe, and that stirred deep fears in Sarah's soul.