deception, not a creation. And second, Ruiz-Sanchez could have done something about it, namely, perform an exorcism on the whole planet. The priest bows his head in shame that he has overlooked an obvious solution to his own case of conscience while he was absorbed in "a book [Finnegans Wake] which to all intents and purposes might have been dictated by the Adversary himself ... 628 pages of compulsive demoniac chatter." The Pope dismisses Ruiz-Sanchez to purge his own soul and to return to the Church if and when he can. A violent mass riot breaks out, fomented by Egtverchi and made possible by the psychosis present in many of the citizens as a result of living in the 'shelter state' (an earlier reference to the "Corridor Riots of 1993" indicates that this is not the first time violence has burst out among the buried cities). During the riot, Agronski dies as a result of being stung by one or more genetically modified honey bees. Ruiz-Sanchez administers Extreme Unction, despite his almost-faithless state. Egtverchi secretly boards a spaceship to Lithia. Michelis and Ruiz-Sanchez are taken to the Moon, where a new telescope has been assembled, based on "a fundamental twist on the Haertel equations which makes it possible to see around normal space-time, as well as travel around it" so that the instrument presents a view of Lithia in real-time, bypassing the delay caused by the speed of light. Cleaver is on Lithia, setting up his reactors, but the physicist who invented the telescope technology believes he has found a fault in Cleaver's reasoning. There is a chance that the work will set off a chain reaction in the planet's rocks and destroy it. As they watch on the screen, Ruiz-Sanchez pronounces an exorcism. The planet explodes, eliminating Cleaver and Egtverchi, but also Chtexa and all the things Ruiz-Sanchez admired. It is left ambiguous whether the extinction of the Lithians is a result of Ruiz-Sanchez's prayer or Cleaver's error. Reception While faulting the novel for "extreme unevenness", Galaxy reviewer Floyd C. Gale concluded that A Case of Conscience was "a provocative, serious, commendable work" and characterized it as "trailblaz[ing]". Anthony Boucher found Blish's protagonist "a credible and moving figure" and praised the opening segment; however he faulted the later material for "los[ing] focus and impact" and "wander[ing]" to an ending that seems "merely chaotic." In his "Books" column for The