technological culture on Earth.
Maybe one could find that sort of close-knit clan among the Eskimos or Bushmen, where every member of the community had to be able to rely on every other or they would all die. For that reason Sharn-igon was happiest when he was least wanted. Ring-Greeting was bringing its usual crop of damaged egos born of loneliness amid the holiday cheer. He was busier than he had ever been, and so less happy.
Stand on your cloud and look down on Sharn-igon. To you he surely looks strange, and maybe quite repulsive, true. His crescent carapace is sprinkled with what look like chitinous sails. Some are a few centimeters high, some much smaller; and around them race, clicking and scraping, what look like lice. Actually, they aren't. They are not even parasites, except in the sense that a fetus is a parasite on its mother; they are the young. Sharn-igon is not the only Krinpit in the bar carrying young. Of the hundred individuals in the bar, eight or ten are in the brood-male phase. Sometimes one of the scurrying little creatures drops off or inadvertently gets carried off on the shell of another Krinpit as they rub together. They are instantly aware of what has happened and go wild in the attempt to get back. If they fail, they die.
Each end of Sharn-igon's shell is pleated chitin jointed with cartilage. That part is always in motion, expanding with accordion folds, tilting, spreading like a fan. He slides along the packed dirt floor or the bodies of Krinpit under him (in the conviviality of the bar no one minds being crawled on) on a dozen double-boned legs.
After he had had three quick ones and was feeling better, he left the bar and sidled down the turfy run, not hurrying, with no particular destination in mind. On each side of the run are what you might think of as rather shabby Japanese screens. They are not decorated in any way, but they are jointed and folded, and they come in all sizes. They set off the homes and commercial places, some of which, like the bar, are filled with scores of Krinpit, some almost empty. The screens too are studded with the tiny saillike projections, but otherwise they are unadorned. What you would notice at once is that they are not colored. The Krinpit do not understand color, and in the light of Kung's Star, blood-red and dusky, you would not see much color at first either, even if it were there.
That is how it would look to you, with your human eyes. How would it look to Krinpit eyes? Immaterial; it is a senseless question, because the Krinpit have no eyes. They have photosensitive receptors on their carapaces, but there is no lens, no retina, no mosaic of sensitive cells to analyze an image and translate it into information.
But if the scene was dark, it was also noisy.
Every one of the Krinpit was constantly booming its name —well, not its "name" in the sense that the name of Franklin Roosevelt's wife was Eleanor. The name was not an arbitrary convention. It was the sound each Krinpit made. It was sound that guided them, that palped the world around them and returned information to their quite agile and competent brains. The sonar pulses they sent forth to read the echoes were their "names." Each was different, and every one always being produced while its owner lived. Their main auditory apparatus was the drum-tight undersurface of the belly. It possessed a vent like a dolphin's that could produce a remarkable range of vowel sounds. The "knees" of the double-boned legs could punctuate them with tympanous "consonants." They walked in music wherever they went. They could not move silently. The exact sounds they produced were controllable; in fact, they had an elaborate and sophisticated language. The sounds which became their recognition signals were probably the easiest for them, but they could produce almost any other sound in the frequency range of their hearing. In this their voices were quite like humans'.
So wherever Sharn-igon went he was surrounded by
Maybe one could find that sort of close-knit clan among the Eskimos or Bushmen, where every member of the community had to be able to rely on every other or they would all die. For that reason Sharn-igon was happiest when he was least wanted. Ring-Greeting was bringing its usual crop of damaged egos born of loneliness amid the holiday cheer. He was busier than he had ever been, and so less happy.
Stand on your cloud and look down on Sharn-igon. To you he surely looks strange, and maybe quite repulsive, true. His crescent carapace is sprinkled with what look like chitinous sails. Some are a few centimeters high, some much smaller; and around them race, clicking and scraping, what look like lice. Actually, they aren't. They are not even parasites, except in the sense that a fetus is a parasite on its mother; they are the young. Sharn-igon is not the only Krinpit in the bar carrying young. Of the hundred individuals in the bar, eight or ten are in the brood-male phase. Sometimes one of the scurrying little creatures drops off or inadvertently gets carried off on the shell of another Krinpit as they rub together. They are instantly aware of what has happened and go wild in the attempt to get back. If they fail, they die.
Each end of Sharn-igon's shell is pleated chitin jointed with cartilage. That part is always in motion, expanding with accordion folds, tilting, spreading like a fan. He slides along the packed dirt floor or the bodies of Krinpit under him (in the conviviality of the bar no one minds being crawled on) on a dozen double-boned legs.
After he had had three quick ones and was feeling better, he left the bar and sidled down the turfy run, not hurrying, with no particular destination in mind. On each side of the run are what you might think of as rather shabby Japanese screens. They are not decorated in any way, but they are jointed and folded, and they come in all sizes. They set off the homes and commercial places, some of which, like the bar, are filled with scores of Krinpit, some almost empty. The screens too are studded with the tiny saillike projections, but otherwise they are unadorned. What you would notice at once is that they are not colored. The Krinpit do not understand color, and in the light of Kung's Star, blood-red and dusky, you would not see much color at first either, even if it were there.
That is how it would look to you, with your human eyes. How would it look to Krinpit eyes? Immaterial; it is a senseless question, because the Krinpit have no eyes. They have photosensitive receptors on their carapaces, but there is no lens, no retina, no mosaic of sensitive cells to analyze an image and translate it into information.
But if the scene was dark, it was also noisy.
Every one of the Krinpit was constantly booming its name —well, not its "name" in the sense that the name of Franklin Roosevelt's wife was Eleanor. The name was not an arbitrary convention. It was the sound each Krinpit made. It was sound that guided them, that palped the world around them and returned information to their quite agile and competent brains. The sonar pulses they sent forth to read the echoes were their "names." Each was different, and every one always being produced while its owner lived. Their main auditory apparatus was the drum-tight undersurface of the belly. It possessed a vent like a dolphin's that could produce a remarkable range of vowel sounds. The "knees" of the double-boned legs could punctuate them with tympanous "consonants." They walked in music wherever they went. They could not move silently. The exact sounds they produced were controllable; in fact, they had an elaborate and sophisticated language. The sounds which became their recognition signals were probably the easiest for them, but they could produce almost any other sound in the frequency range of their hearing. In this their voices were quite like humans'.
So wherever Sharn-igon went he was surrounded by
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