Zima Blue
Alastair Reynolds
Zima Blue
by Alastair Reynolds
After the first week people started drifting away from the island. The viewing stands around the pool became emptier by the day. The big tourist ships hauled back toward interstellar space. Art fiends, commentators and critics packed their bags in Venice. Their disappointment hung over the lagoon like a miasma.
I was one of the few who stayed on Murjek, returning to the stands each day. I’d watch for hours, squinting against the trembling blue light reflected from the surface of the water. Face down, Zima’s pale shape moved so languidly from one end of the pool to the other that it could have been mistaken for a floating corpse. As he swam I wondered how I was going to tell his story, and who was going to buy it. I tried to remember the name of my first newspaper, back on Mars. They wouldn’t pay as much as some of the bigger titles, but some part of me liked the idea of going back to the old place. It had been a long time… I queried the AM, wanting it to jog my memory about the name of the paper. There’d been so many since… hundreds, by my reckoning. But nothing came. It took me another yawning moment to remember that I’d dismissed the AM the day before.
“You’re on your own, Carrie,” I said. “Start getting used to it.”
In the pool, the swimming figure ended a length and began to swim back toward me.
Two weeks earlier I’d been sitting in the Piazza San Marco at noon, watching white figurines glide against the white marble of the clock tower. The sky over Venice was jammed with ships parked hull-to-hull. Their bellies were quilted in vast glowing panels, tuned to match the real sky. The view reminded me of the work of a pre-Expansion artist who had specialised in eye-wrenching tricks of perspective and composition: endless waterfalls, interlocking lizards. I formed a mental image and queried the fluttering presence of the AM, but it couldn’t retrieve the name.
I finished my coffee and steeled myself for the bill.
I’d come to this white marble version of Venice to witness the unveiling of Zima’s final work of art. I’d had an interest in the artist for years, and I’d hoped I might be able to arrange an interview. Unfortunately several thousand other members of the in-crowd had come up with exactly the same idea. Not that it mattered what kind of competition I had anyway; Zima wasn’t talking.
The waiter placed a folded piece of card on my table.
All we’d been told was to make our way to Murjek, a waterlogged world most of us had never heard of before. Murjek’s only claim to fame was that it hosted the one hundred and seventy-first known duplicate of Venice, and one of only three Venices rendered entirely in white marble. Zima had chosen Murjek to host his final work of art, and to be the place where he would make his retirement from public life.
With a heavy heart I lifted the bill to inspect the damage. Instead of the expected bill there was a small blue card, printed in fine gold italic lettering. The shade of blue was that precise, powdery, aquamarine that Zima had made his own. The card was addressed to me, Carrie Clay, and it said that Zima wanted to talk to me about the unveiling. If I was interested, I should report to the Rialto Bridge in exactly two hours.
If I was interested.
The note stipulated that no recording materials were to be brought, not even a pen and paper. As an afterthought, the card mentioned that the bill had been taken care of. I almost had the nerve to order another coffee and put it on the same tab. Almost, but not quite.
Zima’s servant was there when I arrived early at the bridge. Intricate neon mechanisms pulsed behind the flexing glass of the robot’s mannequin body. It bowed at the waist and spoke very softly. “Miss Clay? Since you’re here, we might as well depart.”
The robot escorted me to a flight of stairs that led to the waterside. My AM followed us, fluttering at my shoulder. A conveyor hovered in waiting, floating a metre above the water. The robot helped me into the rear compartment. The AM was about to follow me inside when the robot raised a warning hand.
“You’ll have to leave that behind, I’m afraid: no recording materials, remember?”
I looked at the metallic green hummingbird, trying to remember the last time I had been out of its ever-watchful presence.
“Leave it behind?”
“It’ll be quite safe here, and you can collect it again when you return after nightfall.”
“If I say no?”
“Then I’m afraid there’ll be no meeting with Zima.”
I sensed that the robot wasn’t going to hang around all afternoon waiting for my answer. The thought of being away from the AM made my blood run cold. But I wanted that interview so badly I was prepared to consider anything.
I told the AM to stay here until I returned.
The obedient machine reversed away from me in a flash of metallic green. It was like watching a part of myself drift away. The glass hull wrapped itself around me and I felt a surge of un-nulled acceleration.
Venice tilted below us, then streaked away to the horizon.
I formed a test query, asking the AM to name the planet where I’d celebrated my seven hundredth birthday. Nothing came: I was out of query range, with only my own age-saturated memory to rely on.
I leaned forward. “Are you authorised to tell me what this is about?”
“I’m afraid he didn’t tell me,” the robot said, making a face appear in the back of his head. “But if at any moment you feel uncomfortable, we can return to Venice.”
“I’m fine for now. Who else got the blue card treatment?”
“Only you, to the best of my knowledge.”
“And if I’d declined? Were you supposed to ask someone else?”
“No,” the robot said. “But let’s face it, Miss Clay. You weren’t very likely to turn him down.”
As we flew on, the conveyor’s shock wave gouged a foaming channel in the sea behind it. I thought of a brush drawn through wet paint on marble, exposing the white surface beneath. I took out Zima’s invitation and held it against the horizon ahead of us, trying to decide whether the blue was a closer match to the sky or the sea. Against these two possibilities the card seemed to flicker indeterminately.
Zima Blue. It was an exact thing, specified scientifically in terms of angstroms and intensities. If you were an artist, you could have a batch of it mixed up according to that specification. But no one ever used Zima Blue unless they were making a calculated statement about Zima himself.
Zima was already unique by the time he emerged into the public eye. He had undergone radical procedures to enable him to tolerate extreme environments without the burden of a protective suit. Zima had the appearance of a well-built man wearing a tight body stocking, until you were close and you realised that this was actually his skin. Covering his entire form, it was a synthetic material that could be tuned to different colours and textures depending on his mood and surroundings. It could approximate clothing if the social circumstances demanded it. The skin could contain pressure when he wished to experience vacuum, and stiffen to protect him against the crush of a gas giant planet. Despite these refinements the skin conveyed a full range of sensory impressions to his mind. He had no need to breathe, since his entire cardiovascular system had been replaced by closed-cycle life-support mechanisms. He had no need to eat or drink; no need to dispose of bodily waste. Tiny repair machines swarmed through his body, allowing him to tolerate radiation doses that would have killed an ordinary man in minutes.
With his body thus armoured against environmental extremes, Zima was free to seek inspiration where he wanted. He could drift free in space, staring into the face of a star, or wander the searing canyons of a planet where metals ran like lava. His eyes had been replaced by cameras sensitive to a huge swathe of the electromagnet
ic spectrum, wired into his brain via complex processing modules. A synaes-thesic bridge allowed him to hear visual data as a kind of music; to see sounds as a symphony of startling colours. His skin functioned as a kind of antenna, giving him sensitivity to electrical field changes. When that wasn’t sufficient, he could tap into the data feeds of any number of accompanying machines.
Given all this, Zima’s art couldn’t help but be original and attention-grabbing. His landscapes and starfields had a heightened, ecstatic quality about them, awash in luminous, jarring colours and eye-wrenching tricks of perspective. Painted in traditional materials but on a huge scale, they quickly attracted a core of serious buyers. Some found their way into private collections, but Zima murals also started popping up in public spaces all over the Galaxy. Tens of metres across, the murals were nonetheless detailed down to the limits of vision. Most had been painted in one session. Zima had no need for sleep, so he worked uninterrupted until a piece was complete.
The murals were undeniably impressive. From a standpoint of composition and technique they were unquestionably brilliant. But there was also something bleak and chilling about them. They were landscapes without a human presence, save for the implied viewpoint of the artist himself.
Put it this way: they were nice to look at, but I wouldn’t have hung one in my home.
Not everyone agreed, obviously, or else Zima wouldn’t have sold as many works as he had. But I couldn’t help wondering how many people were buying the pictures because of what they knew about the artist, rather than because of any intrinsic merit in the works themselves.
That was how things stood when I first paid attention to Zima. I filed him away as interesting but kitschy: maybe worth a story if something else happened to either him or his art.
Something did, but it took a while for anyone —including me —to notice.
One day—after a longer than usual gestation period—Zima unveiled a mural that had something different about it. It was a picture of a swirling, star-pocked nebula, from the vantage point of an airless rock. Perched on the rim of a crater in the middle distance, blocking off part of the nebula, was a tiny blue square. At first glance it looked as if the canvas had been washed blue and Zima had simply left a small area unpainted. There was no solidity to the square; no detail or suggestion of how it related to the landscape or the backdrop. It cast no shadow and had no tonal influence on the surrounding colours. But the square was deliberate: close examination showed that it had indeed been overpainted over the rocky lip of the crater. It meant something.
The square was just the beginning. Thereafter, every mural that Zima released to the outside world contained a similar geometric shape: a square, triangle, oblong or some similar form embedded somewhere in the composition. It was a long time before anyone noticed that the shade of blue was the same from picture to picture.
It was Zima Blue: the same shade of blue as on the gold-lettered card.
Over the next decade or so, the abstract shapes became more dominant, squeezing out the other elements of each composition. The cosmic vistas ended up as narrow borders, framing blank circles, triangles, rectangles. Where his earlier work had been characterised by exuberant brushwork and thick layers of paint, the blue forms were rendered with mirror-smoothness.
Intimidated by the intrusion of the abstract blue forms, casual buyers turned away from Zima. Before very long Zima unveiled the first of his entirely blue murals. Large enough to cover the side of a thousand-storey building, the mural was considered by many to be as far as Zima could take things.
They couldn’t have been more wrong.
I felt the conveyor slowing as we neared a small island, the only feature in any direction.
“You’re the first to see this,” the robot said. “There’s a distortion screen blocking the view from space.”
The island was about a kilometre across: low and turtle-shaped, ringed by a narrow collar of pale sand. Near the middle it rose to a shallow plateau, on which vegetation had been cleared in a roughly rectangular area. I made out a small panel of reflective blue set flat against the ground, surrounded by what appeared to be a set of tiered viewing stands.
The conveyor shed altitude and speed, bobbing down until it stopped just outside the area enclosed by the viewing stands. It came to rest next to a low white pebble-dash chalet I hadn’t noticed during our approach.
The robot stepped out and helped me from the conveyor.
“Zima will be here in a moment,” it said, before returning to the conveyor and vanishing back into the sky.
Suddenly I felt very alone and very vulnerable. A breeze came in from the sea, blowing sand into my eyes. The sun was creeping down toward the horizon and soon it would be getting chilly. Just when I was beginning to feel the itch of panic, a man emerged from the chalet, rubbing his hands briskly. He walked toward me, following a path of paved stones.
“Glad you could make it, Carrie.”
It was Zima, of course, and in a flash I felt foolish for doubting that he would show his face.
“Hi,” I said lamely.
Zima offered his hand. I shook it, feeling the slightly plastic texture of his artificial skin. Today it was a dull pewter-grey.
“Let’s go and sit on the balcony. It’s nice to watch the sunset, isn’t it?”
“Nice,” I agreed.
He turned his back to me and set off in the direction of the chalet. As he walked, his muscles flexed and bulged beneath the pewter flesh. There were scale-like glints in the skin on his back, as if it had been set with a mosaic of reflective chips. He was beautiful like a statue, muscular like a panther. He was a handsome man, even after all his transformations, but I had never heard of him taking a lover, or having any kind of a private life at all. His art was everything.
I followed him, feeling awkward and tongue-tied. Zima led me into the chalet, through an old-fashioned kitchen and an old-fashioned lounge, full of thousand-year-old furniture and ornaments.
“How was the flight?”
“Fine.”
He stopped suddenly and turned to face me. “I forgot to check… did the robot insist that you leave behind your Aide Memoire?”
“Yes.”
“Good. It was you I wanted to talk to, Carrie, not some surrogate recording device.”
“Me?”
The pewter mask of his face formed a quizzical expression. “Do you do multisyllables, or are you still working up to that?”
“Er…”
“Relax,” he said. “I’m not here to test you, or humiliate you, or anything like that. This isn’t a trap, and you’re not in any danger. You’ll be back in Venice by midnight.”
“I’m okay,” I managed. “Just a bit starstruck.”
“Well, you shouldn’t be. I’m hardly the first celebrity you’ve met, am I?”
“Well, no, but…”
“People find me intimidating,” he said. “They get over it eventually, and then wonder what all the fuss was about.”
“Why me?”
“Because you kept asking nicely,” Zima said.
“Be serious.”
“All right. There’s a bit more to it than that, although you did ask nicely. I’ve enjoyed much of your work over the years. People have often trusted you to set the record straight: especially near the ends of their lives.”
“You talked about retiring, not dying.”
“Either way, it would still be a withdrawal from public life. Your work has always seemed truthful to me, Carrie. I’m not aware of anyone claiming misrepresentation through your writing.”
“It happens now and then,” I said. “That’s why I always make sure there’s an AM on hand so no one can dispute what was said.”
“That won’t matter with my story,” Zima said.
I looked at him shrewdly. “There’s something else, isn’t there? Some other reason you pulled my name out of the hat.”
“I’d like to help you,” he said.
When most people
speak about his Blue Period they mean the era of the truly huge murals. By huge I do mean huge. Soon they had become large enough to dwarf buildings and civic spaces; large enough to be visible from orbit. Across the Galaxy twenty-kilometre-high sheets of blue towered over private islands or rose from storm-wracked seas. Expense was never a problem, since Zima had many rival sponsors who competed to host his latest and biggest creation. The panels kept on growing, until they required complex, Sloth-tech machinery to hold them aloft against gravity and weather. They pierced the tops of planetary atmospheres, jutting into space. They glowed with their own soft light. They curved around in arcs and fans, so that the viewer’s entire visual field was saturated with blue.
By now Zima was hugely famous, even to people who had no particular interest in art. He was the weird cyborg celebrity who made huge blue structures; the man who never gave interviews or hinted at the private significance of his art.
But that was a hundred years ago. Zima wasn’t even remotely done.
Eventually the structures became too unwieldy to be hosted on planets. Blithely Zima moved into interplanetary space, forging vast free-floating sheets of blue ten thousand kilometres across. Now he worked not with brushes and paint, but with fleets of mining robots, tearing apart asteroids to make the raw material for his creations. Now it was entire stellar economies that competed with each other to host Zima’s work.
That was about the time that I renewed my interest in Zima. I attended one of his “moonwrappings”: the enclosure of an entire celestial body in a lidded blue container, like a hat going into a box. Two months later he stained the entire equatorial belt of a gas giant blue, and I had a ringside seat for that as well. Six months later he altered the surface chemistry of a sun-grazing comet so that it daubed a Zima Blue tail across an entire solar system. But I was no closer to a story. I kept asking for an interview and kept being turned down. All I knew was that there had to be more to Zima’s obsession with blue than a mere artistic whim. Without an understanding of that obsession, there was no story: just anecdote.
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