An Adventure in FuturityClark Ashton SmithA SURVIVOR from the lost continents of Mu or Atlantis, appearing on our modernstreets, would have seemed no stranger, no more different from others, than theman who called himself Conrad Elkins. And yet I have always found it difficult todefine, even in my own thoughts, the many elements which served to constitute thisstrangeness.It would seem (since we think mainly in words and are often dependent upon themfor the clarification of our ideas) that the adjectives which would fitly describeElkins were as yet non-existent in our vocabulary; that they could be found onlyin some unimaginably subtle, complex and refined language, such as might bedeveloped through long cycles of elaborating culture and civilization on an olderand riper planet than ours.Even at first sight I was greatly struck -- not to say startled -- by the man'spersonality. Perhaps the thing which arrested me more than all else was theimpossibility of assigning him to any known ethnic stock. It is my theory that nohuman being is so individual that he does not possess obvious ear-marks whichplace him immediately among the tribes of mankind; and I am prone to pride myselfon a sedulously cultivated gift for analyzing off-hand the nationality and racialaffiliations of any given person.But Elkins baffled me: his extreme pallor, his fine hair and clear-cut lineamentswere, in a general sense, indicative of Caucasian origin; yet I could not find thedistinguishing features of any American, European or Asiatic branch of the whiterace. Also, I could not have told his age: he seemed young, when one consideredthe smoothness of his face; and yet there was a hint of something incalculably oldin his expression.His garb was modish and well-tailored, with nothing in the least unusual oreccentric. In this, as in all other things, he gave always the subtle impressionof desiring to avoid notice. He was a little under medium height and of strangelydelicate build; and his features, considered by themselves, were almosteffeminate, apart from thegreat brow of uncorrugated ivory, which resembled the one that we see in theportraits of Edgar Allan Poe.The small, intricately convoluted ears, the short, deeply curved lips, and thequeer exotic molding of the sensitive nostrils all seemed to bespeak thepossession of more highly developed senses than are normal to mankind. His eyeswere very large and luminous, of an indescribable purplish color, and did notflinch, as I had occasion to observe, before the most intense light. His hands toowere quite remarkable: in their extreme fineness, flexibility and vigor, they werethe hands of a super-surgeon or a super-artist.The man's habitual expression was wholly enigmatic. No one could have read hismind, and this not from any lack of mobility or expressiveness in the lineamentsthemselves, but rather, I felt sure, from the unknown character of his ideas andmotivations. About him there was an aura of remote, recondite knowledge, ofprofound wisdom and aesthetic refinement. Assuredly he was a mystery from allangles; and any one who has gone into chemistry as I have is almost inevitably alover of mysteries. I made up my mind to learn all that I could concerning him,
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