We hear you, Father," he said surprisingly. "Yet we sense that though what you say is the truth, it is not the whole truth. - James Blish

This senseless advance of expensively trained and equipped men to certain and complete slaughter—men who as usual not only had no idea of what they were dying for, but had been actively misled about it—made about as much military sense as the Siege of Sevastopol or the Battle of the Marne. Certainly it was spectacular, but intellectually it was not even very interesting.

There was one wing of the conservatives, however, which had gone the 12-tone procedure one better. These men composed what was called “stochastic music,” put together by choosing each individual note by consultation with tables of random numbers. Their bible, their basic text, was a volume called Operational Aesthetics, which in turn derived from a discipline called information theory, and not one word of it seemed to touch upon any of the techniques and customs of composition known to Strauss. The ideal of this group was to produce music which would be “universal”—that is, wholly devoid of any trace of the composer’s individuality, wholly a musical expression of the universal Laws of Chance. The Laws of Chance seemed to have a style of their own, all right, but to Strauss it seemed the style of an idiot child being taught to hammer a flat piano to keep him from getting into trouble.

All but a small percentage of Americans live out of their lives without ever coming closer to murder than the daily tabloid can bring them, though magazine fiction and video confer spurious intimacy with the subject.