In the meditation one first must consider the tools, their form and divine essence. One must visualize them and name them: this is a tenon saw, this a dovetail saw, this a gimlet, this a brad-awl. One then must dwell on their purpose, which requires one to imagine each tool in action, and this in turn calls for contemplation of certain basic techniques of carpentry and joinery: the making of mortises and tenons, the construction of joists and frames, the fitting of veneers, the setting of braces and struts and wedging. This phase of the meditation is the most prolonged and the most intense. Shadrach has heard that some adherents to the cult devote the entire energy of their worship to it, and never actually take tools and wood into their hands, but carry out a completely satisfying communion in their minds alone. Until today he has never really understood how this could be accomplished, but now, scribing and mitring and butting as he sits with closed eyes, menially fitting tenon into mortise and tongue into groove, he sees that actual manual labor can be extraneous to this experience if one is able fully to enter into the meditative phase.

He perceives this, but he moves on anyway into the terminal stage of the meditation, which is the entry into the wood, the mother-stuff. This too is a highly structured exercise, which one must begin by imagining trees, not merely any trees but specific timber trees of one’s own choice, ordinarily pine or spruce or fir for Shadrach, occasionally more exotic woods, according to his whim, ebony, palisander, mahogany, teak. One must see the tree; one must imagine it felled; one must carry it onward to be milled and seasoned; one must at last behold the finished board, and contemplate its grain, its texture, its moisture content, its vulnerability to shrinkage and warpage, all its characteristics and special beauties. And then, only then, when one can taste the wood on one’s tongue, when one feels the tool hot and eager in one’s hand, then does one rise and go to the bin and select one’s lumber and begin at last to work.

Shadrach knows, by the time he has reached this stage, exactly what the form of his worship will be today. He will do no fancy joinery this day, but simple heavy carpentry, simple but pure, a job that strikes to the essence of form: he will construct the centering for a brick arch. It has sprung entire into his mind, the ribs and ties, the braces and struts, the laggings, the wedges; he has calculated the curvature, the span, the height of the crown, the springing line, all in one rush of inner vision, and now he need only cut and fit and hammer, and when he is done he will disassemble everything, carry out the ceremonial burning of the sawdust, and depart, drained and eased of tension.

He works quickly. A kind of wild feverish energy has come over him. He hastens from bin to bench, from bin to bench; his mouth bristles with nails of half a dozen lengths; he does not pause for an instant. Yet there is nothing rushed about his labor. To rush would be folly; the point here is to attain calmness of spirit. The work should be accomplished swiftly but without haste. Serenely Shadrach builds. The work contains its own purpose and has none beyond the immediate spiritual fulfillment, for one never uses anything one constructs in the carpentry chapel, one never takes anything away that one has put together, any more than one would bring in one’s own tools. This is not a substitute for the home workshop, after all. The idea here is solely to exercise skill in joining, and thus to experience the fundamental connectivity of the universe; what one actually makes is incidental, a means to a higher end, and must not be allowed to become a goal in itself. Shadrach has never fully understood that part of it before today, either. He has enjoyed the physicality of the work, the hammering and the sweat, and he has enjoyed the aesthetic reward, the pleasure of watching something sturdy and attractive take shape under his hands, and he has always felt mildly distressed at the necessary disassembling that follows; because he has never seen the carpentry cult as anything more profound than tennis or golf or bicycle riding, he has never attained those farther reaches of the spirit which he has heard are available to the communicants here. Now he does attain those reaches, at least their nearer fringes, and, penetrating unexpected realms, he finds that his fears and resentments fall away, and he is purified. So it must have been for the Creator, shaping worlds on quiet afternoons, experiencing a total sense of identification with the task, a sense of utter selflessness, of being no more than a conduit for the great shaping force that flows through the universe. No doubt one can just as readily attain ihe same tranquil place through tennis or golf or bicycle riding, Shadrach realizes. The means is unimportant; only the state of consciousness toward which one journeys matters. He sees his arch acquiring form; it is not his arch but the arch, the prototype of all arches, the ideal arch, the arch on which the vault of the heavens rests, and he and the arch have become one, and he, Shadrach Mordecai of Utan Bator, bears all the weight of the cosmos and feels no burden. Does an arch complain of the load? The arch, if the arch is a proper arch, merely transmits the weight to the earth, and the earth does not complain either, but imparts the thrust of its burden to the stars, which accept it unprotestingly, for there is no burden, there is no weight, there is simply the ebb and flow of substance between the joined members of the one great entity that is the matrix of everything; and when one has perceived that, can it be such a serious matter that one’s body, which at the moment houses a pattern of responses that calls itself “Shadrach Mordecai,” may soon house instead something calling itself “Genghis Mao”? Such transformations are meaningless. Change does nor occur; there are only transfers, not transformations: the only reality is the reality of eternal flux. He is purged of all discord and all dismay.

The arch is done. Shadrach briefly admires its perfection of form; then, calmly, he knocks it apart and carries the pieces to the salvage bin.

Does the arch no longer exist, simply because its components have been dismembered? No. The arch exists, shining as brightly in his mind as when he first conceived it. The arch will always exist. The arch is indestructible. Shadrach restores his tools to their original immaculate order, and gathers his sawdust, and makes the ceremonial pyre of it in the urn in the aisle. When his bench is as clean as he first found it, he kneels, bows his head, and remains that way a minute or two, altogether untroubled, mind blank, a tabula rasa, healed and made whole. Then he goes out.

Images of Mangu are everywhere in the streets, the handsome Mongol face looking down from the facade of every building and staring out from great banners strung from lampposts high above the roadways. At the intersection of three grand boulevards workmen are diligently erecting the armature for what is undoubtedly going to be a vast statue of the dead viceroy. The process of canonization is well advanced; day by day, departed Mangu is thrust more visibly into the consciousness of the citizens of the world capital, and doubtless everywhere else as well. Mangu dead has taken on a power and a presence never possessed by Mangu alive: he has indeed become a fallen demigod, he is Baldur, Adonis, Osiris, the slaughtered promise of spring, and he is due to rise again.

Shadrach, cool and bouncy, wanders toward the river, whistling some lush romantic melody — a tune out of Rachmaninoff, he suspects. He is being followed, he realizes, by a man who emerged from the carpentry chapel a moment after he did. This does not worry him. For the moment, nothing worries him. He is charmed by everything: the steppe, the hills, the faintly chilly spring air, the idea of being followed. He is charmed even by the silly ubiquity of Mangu, whose bland symmetrical features have been plastered to everything, and sprout from mailboxes, from trashbins, from the low smooth white wall of the promenade that runs along the river; there are Mangu pennants and streamers hanging all around, and everything is done to a background of the Mongol mourning color, which is yellow and lends an oddly bright and festive tone to the display, as though there is shortly to be a parade in Mangu’s honor, followed by the viceroy’s glorious second coming. Shadrach smiles. He leans his long body over the promenade wall to admire the lovely turbulent flow of the river, quickened by its spring freshets and humming along with rare energy, swirling and dancing. He imagines filaments and tendrils of tributary streams spreading outward from the channel below him, lacing this arid land together, carrying water joyously from the mountains, sweeping it to the river and thence to the sea, a vast arterial system serving the living, throbbing entity that is the earth, and the image pleases the doctor in him. If he listens carefully, he tells himself, he can hear the breathing of the planet, and even the rhythms of its heart, tub-dub, tub-dub. The man who has been following him appears now on the promenade and takes up a position just to Shadrach’s left. Side by side they watch the river in silence. After a moment Shadrach risks a furtive glance and discovers that the man is Frank Ficifolia, the communications expert, the designer of Surveillance Vector One. Ficifolia is a short, rotund, capable man, perhaps fifty years old, good-natured and talkative, and his uncharacteristic silence now is significant. Upon entering the carpentry chapel Shadrach had had a glimpse of someone he thought might be Ficifolia, but the etiquette of the cult had kept him from taking a second look; his guess is now confirmed. But a different etiquette controls Shadrach here. In the bugged and spy-eyed world of Genghis Mao, one is frequently approached by people who wish to talk without outwardly seeming to be holding a conversation. Many times Shadrach has carried on long interchanges with someone who is staring in another direction, even with someone whose back is to him. He continues, therefore, to study the rushing flow of the river, offering Ficifolia no greeting, and waiting. Eventually Ficifolia says, apropos of nothing and without looking at Shadrach, “I don’t understand why you’re still hanging around here.”