Whatever it was, the newspapers loved it. I had discussed it in several interviews over the past year; what I hadn’t told anyone was how badly the work had been going lately. An artist is not just a creator of beauty but also its primary consumer, and I had lost heart. After almost two years of blindness, I had lost all interest in painting scenes from my past, no matter how remarkable they might appear to others. My art had become a trick. The darkness that had fallen over my world was becoming total.

“I still paint, it’s true,” was all I said.

“We are engaged in a unique experiment,” said Dr. DeCandyle. “An expedition to a realm even more exotic and beautiful—and dangerous—than the ocean depths. Like the Mariana Trench, it is impossible to photograph and therefore has never been illustrated. That is why we want you to be a part of our team.”

“But why me?” I said. “Why a blind artist?”

DeCandyle didn’t answer. His voice took on a new authority. “Follow me and I’ll show you.”

Ignoring the awful irony of his words, and somewhat against my better judgment, I did.

Dr. Sorel fell in behind me; we passed through a door and entered a long corridor. Through another door, we entered a room larger and colder than the first. It sounded empty but wasn’t; we walked to the center and stopped.

“Twenty years ago, before beginning my doctoral work,” said DeCandyle, “I was part of a unique series of experiments being performed in Berkeley. I don’t suppose you are familiar with the name of Dr. Edwin Noroguchi?”

I shook my head.

“Dr. Noroguchi was experimenting in techniques for reviving the dead. Oh, nothing as dramatic and sinister as Frankenstein. Noroguchi studied and adapted the recent successes in reviving people who had drowned or suffered heart attacks. Learning to induce death for as long as an hour, we—I say we, for I joined him and have since devoted my life to the work—began to explore and, you might say, map the areas of existence immediately following death. LAD or Life After Death experience.”

My aunt Kate, who raised me after my parents were killed, always told me I was a little slow. It was only at this point that I began to understand what DeCandyle was getting at. If I had been nearer the door, I would have walked out. As it was, in the middle of a room where I had no bearings, I began backing away.

“Using chemical and electrical techniques on volunteers, we were able to confirm the stories those who had been revived told about their spirits looking down on their own bodies; about floating toward a light; about an intense feeling of peace and well-being—all this was scientifically investigated and confirmed. Though not, of course, photographed or documented. There was no way to share what we discovered with the scientific world.”

I had reached the wall; I started feeling along it for the door.

“Then legal and funding problems intervened, and our work was interrupted. Until recently. With the help of the university and interest from the National Geographic, Dr. Sorel and I have been able to continue the explorations that Dr. Noroguchi and I began. And your ability to paint will enable us to share with the world what we discover. The last unexplored frontier, the ‘undiscovered country’ of which Shakespeare wrote, is now within the reach of—”

“You’re talking about killing yourselves,” I interrupted. “You’re talking about killing me.”

“Only temporarily,” said Dr. Sorel. It was the first thing she’d said; I felt her hand on my arm and I shuddered.

“Dr. Sorel has been to LAD space many times,” DeCandyle said, “and as you can see—forgive me; I mean tell—she has returned. Can it be called true death, if it is not final? And the compensations are—”

“Sorry,” I interrupted again. Feeling behind me for the door, I was stalling for time. “What with insurance and royalties, I’m pretty well fixed.”

“I am not speaking of money,” Dr. DeCandyle said, “Although you will of course be paid. There is another and, perhaps for you, more important compensation than money.”

I found the door. I was just about to go through it when he said the only words that could have turned me around:

“In LAD space, you will once again be able to see.”

By two that afternoon I had completed my physical and was being strapped into what DeCandyle and Sorel called “the car” for my first mission into LAD space.

Of all the scenes of heaven and hell and the regions between which I was to witness, the one I most wish I was able to paint is that empty-sounding room and the car that was to carry me beyond this life. All I had was DeCandyle’s description of the car. It was a black (appropriately) open fiberglass cockpit with two seats: I visualized it as a Corvette without the wheels.

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