Venice Drowned
Kim Stanley Robinson
Preface
I remember Kim Stanley Robinson as one of the best writers in quite an impressive group of students I taught at the Clarion science fiction writing workshop in the mid-seventies. He was not the one who dismantled the ceiling, though, nor the one who carried around a small bale of marijuana and a glazed expression, nor the one who supposedly had shacked up with one of the instructors, nor the one who liberated the fire hose… unfortunately for me, Stan was just a pleasant, hardworking guy who was mainly thereto write, and write well. Which makes it difficult to do a racy introduction for him. Doubly difficult because he pleads modesty and will only reveal the following information:
1.He did his Ph.D. thesis on the novels of Philip K. Dick (whether in the department of English, theology, philosophy, or pharmacy, he does not say).
2. He teaches at the University of California at Davis.
3. His first novel, The Wild Shore, came out from Ace in 1984.
"Venice Drowned" is a nearly flawless exemplar of a kin of writing that can only be done in science fiction. I don’t know if it has a name — in academic jargon I suppose it would be something like "refractive mimesis" — but it’s that creepy kind of double-vision writing where an imagined world, similar to ours but different in some dramatic particular, is described with such painstaking authority that it becomes absolutely real, to such c extent that the world ceases to be simply background for the story; in a curious way, it becomes the story. Philip Dick was the master of this kind of invention, of course, which doesn’t detract from Stan’s achievement. Rereading it gives me goosebumps.
Venice Drowned
By the time Carlo Tafur struggled out of sleep, the baby was squalling, the teapot whistled, the smell of stove smoke filled the air. Wavelets slapped the walls of the floor below. It was just dawn. Reluctantly he untangled himself from the bedsheets and got up. He padded through the other room of his home, ignoring his wife and child, and walked out the door onto the roof.
Venice looked best at dawn, Carlo thought as he pissed into the canal. In the dim mauve light it was possible to imagine that the city was just as it always had been, that hordes of visitors would come flooding down the Grand Canal on this fine summer morning…. Of course, one had to ignore the patchwork constructions built on the roofs of the neighborhood to indulge the fancy. Around the church San Giacomo du Rialto all the buildings had even their top floors awash, and so it had been necessary to break up the tile roofs, and erect shacks on the roof beams made of materials fished up from below: wood, brick lath, stone, metal, glass. Carlo’s home was one of these shacks, made of a crazy combination of wood beams, stained glass from San Giacometta, and drain pipes beaten flat. He looked back at it and sighed. It was best to look off over the Rialto, where the red sun blazed over the bulbous domes of San Marco.
"You have to meet those Japanese today," Carlo’s wife, Luisa, said from inside.
"I know." Visitors still came to Venice, that was certain.
"And don’t go insulting them and rowing off without your pay," she went on, her voice sounding clearly out of the doorway, "like you did with those Hungarians. It really doesn’t matter what they take from under the water, you know. That’s the past. That old stuff isn’t doing anyone any good under there, anyway."
"Shut up," he said wearily. "I know."
"I have to buy stovewood and vegetables and toilet paper and socks for the baby." she said. "The Japanese are the best customers you’ve got; you’d better treat them well."
Carlo reentered the shack and walked into the bedroom to dress. Between. putting on one boot and the next he stopped to smoke a cigarette, the last one in the house. While smoking he stared at his pile of books on the floor, his library as Luisa sardonically called the collection; all books about Venice. They were tattered, dog-eared, mildewed, so warped by the damp that none of them would close properly, and each moldy page was as wavy as the Lagoon on a windy day. They were a miserable sight, and Carlo gave the closest stack a light kick with his cold boot as he returned to the other room.
"I’m off," he said, giving his baby and then Luisa a kiss. "I’ll be back late; they want to go to Torcello."
"What could they want up there?"
He shrugged. "Maybe just to see it." He ducked out the door.
Below the roof was a small square where the boats of the neighborhood were moored. Carlo slipped off the tile onto the narrow floating dock he and the neighbors had built, and crossed to his boat, a wide-beamed sailboat with a canvas deck. He stepped in, unmoored it, and rowed out of the square onto the Grand Canal.
Once on the Grand Canal he tipped the oars out of the water and let the boat drift downstream. The big canal had always been the natural course of the channel through the mudflats of the Lagoon; for a while it had been tamed, but now it was a river again, its banks made of tile rooftops and stone palaces, with hundreds of tributaries flowing into it. Men were working on roofhouses in the early-morning light; those who knew Carlo waved, hammers or rope in hand, and shouted hello. Carlo wiggled an oar perfunctorily before he was swept past. It was foolish to build so close to the Grand Canal, which now had the strength to knock the old structures down, and often did. But that was their business. In Venice they were all fools, if one thought about it.
Then he was in the Basin of San Marco, and he rowed through, the Piazetta beside the Doge’s Palace, which was still imposing at two stories high, to the Piazza. Traffic was heavy as usual. It was the only place in Venice that still had the crowds of old, and Carlo enjoyed it for that reason, though he shouted curses as loudly as anyone when gondolas streaked in front of him. He jockeyed his way to the Basilica window and rowed in.
Under the brilliant blue and gold of the domes it was noisy. Most of the water in the rooms had been covered with a floating dock. Carlo moored his boat to it, heaved his four scuba tanks on, and clambered up after them. Carrying two tanks in each hand he crossed the dock, on which the fish market was in full swing. Displayed for sale were flats of mullet, lagoon sharks, tunny, skates, and flatfish. Clams were piled in trays, their shells gleaming in the shaft of sunlight from the stained-glass east window; men and women pulled live crabs out of holes in the dock, risking fingers in the crab-jammed traps below; octopuses inked their buckets of water, sponges oozed foam; fishermen bawled out prices, and insulted the freshness of their neighbors' product.
In the middle of the fish market, Ludovico Salerno, one of Carlo’s best friends, had his stalls of scuba gear. Carlo’s two Japanese customers were there. He greeted them and handed his tanks to Salerno, who began refilling them from his machine. They conversed in quick, slangy Italian while the tanks filled. When they were done, Carlo paid him and led the Japanese back to his boat. They got in and stowed their backpacks under the canvas decking, while Carlo pulled the scuba tanks on board.
"We are ready to voyage at Torcello?" one asked, and the other smiled and repeated the question. Their names were Hamada and Taku. They had made a few jokes concerning the latter name’s similarity to Carlo’s own, but Taku was the one with less Italian, so the sallies hadn’t gone on for long. They had hired him four days before, at Salerno’s stall.
"Yes," Carlo said. He rowed out of the Piazza and up back canals past Campo San Maria Formosa, which was nearly as crowded as the Piazza. Beyond that the canals were empty, and only an occasional roof-house marred the look of flooded tranquillity.
"That part of city Venice here not many people live," Hamada observed. "Not houses on houses."
"That’s true," Carlo replied. As he rowed past San Zanipolo and the hospital, he explained, "It’s too close to the hospital here, where many diseases were contained. Sicknesses,
you know."
"Ah, the hospital!" Hamada nodded, as did Taku. "We have swam hospital in our Venice voyage previous to that one here. Salvage many fine statues from lowest rooms."
"Stone lions," Taku added. "Many stone lions with wings in room below Twenty-forty' waterline."
"Is that right," Carlo said. Stone lions, he thought, set up in the entryway of some Japanese businessman’s expensive home around the world…. He tried to divert his thoughts by watching the brilliantly healthy, mask like faces of his two passengers as they laughed over their reminiscences.
Then they were over the Fondamente Nuova, the northern limit of the city, and on the Lagoon. There was a small swell from the north. Carlo rowed out a way and then stepped forward to raise the boat’s single sail. The wind was from the east, so they would make good time north to Torcello. Behind them, Venice looked beautiful in the morning light, as if they were miles away, and a watery horizon blocked their full view of it.
The two Japanese had stopped talking and were looking over the side. They were over the cemetery of San Michele, Carlo realized. Below them lay the island that had been the city’s chief cemetery for centuries; they sailed over a field of tombs, mausoleums, gravestones, obelisks, that at low tide could be a navigational hazard…. Just enough of the bizarre white blocks could be seen to convince one that they were indeed the result of the architectural thinking of fishes. Carlo crossed himself quickly to impress his customers, and sat back down at the tiller. He pulled the sail tight and they heeled over slightly, slapped into the waves.
In no more than twenty minutes they were east of Murano, skirting its edge. Murano, like Venice an island city crossed with canals, had been a quaint little town before the flood. But it didn’t have as many tall buildings as Venice, and it was said that an underwater river had undercut its islands; in any case, it was a wreck. The two Japanese chattered with excitement.
"Can we visit to that city here, Carlo?" asked Hamada.
"It’s too dangerous," Carlo answered. "Buildings have fallen into the canals."
They nodded, smiling. "Are people live here?" Taku asked.
"A few, yes. They live in the highest buildings on the floors still above water, and work in Venice. That way they avoid having to build a roof-house in the city."
The faces of his two companions expressed incomprehension.
"They avoid the housing shortage in Venice," Carlo said. "There’s a certain housing shortage in Venice, as you may have noticed." His listeners caught the joke this time and laughed uproariously.
"Could live on floors below if owning scuba such as that here," Hamada said, gesturing at Carlo’s equipment.
"Yes," he replied. "Or we could grow gills." He bugged his eyes out and waved his fingers at his neck to indicate gills. The Japanese loved it.
Past Murano, the Lagoon was clear for a few miles, a sunbeaten blue covered with choppy waves. The boat tipped up and down, the wind tugged at the sail cord in Carlo’s hand. He began to enjoy himself. "Storm coming," he volunteered to the others and pointed at the black line over the horizon to the north. It was a common sight; short, violent storms swept over Brenner Pass from the Austrian Alps, dumping on the Po Valley and the Lagoon before dissipating in the Adriatic… once a week, or more, even in the summer. That was one reason the fish market was held under the domes of San Marco; everyone had gotten sick of trading in the rain.
Even the Japanese recognized the clouds. "Many rain fall soon here," Taku said.
Hamada grinned and said, "Taku and Tafui, weather prophets no doubt, make big company!"
They laughed. "Does he do this in Japan, too?" Carlo asked.
"Yes indeed, surely. In Japan rains every day Taku says, It rains tomorrow for surely. Weather prophet!"
After the laughter receded, Carlo said, "Hasn’t all the rain drowned some of your cities too?"
"What’s that here?"
"Don’t you have some Venices in Japan?"
But they didn’t want to talk about that. "I don’t understand…. No, no Venice in Japan," Hamada said easily, but neither laughed as they had, before. They sailed on. Venice was out of sight under the horizon, as was Murano., Soon they would reach Burano. Carlo guided the boat over the waves and listened to his companions converse in their improbable language, or mangle Italian in a way that alternately made hum want to burst with hilarity or bite the gunwale with frustration.
Gradually, Burano bounced over the horizon, the campanile first, followed by the few buildings still above water. Murano still had inhabitants, a tiny market, even a midsummer festival; Burano was empty. Its campanile stood at a distinct angle, like the mast of a foundered ship. It had been an island town, before 2040; now it had "canals" between every rooftop. Carlo disliked the town intensely and gave it a wide berth. His companions discussed it quietly in Japanese.
A mile beyond it was Torcello, another island ghost town. The campanile could be seen from Burano, tall and white against the black clouds to the north. They approached in silence. Carlo took down the sail, set Taku in the bow to look for snags, and rowed cautiously to the edge of town. They moved between rooftops and walls that stuck up like reefs or like old foundations out of the earth. Many of the roof tiles and beams had been taken for use in construction back in Venice. This happened to Torcello before; during the Renaissance it had been a little rival of Venice, boasting a population of twenty thousand, but during the sixteenth and seventeenth centuries it had been entirely deserted. Builders from Venice had come looking in the ruins for good marble or a staircase of the right dimensions…. Briefly a tiny population had returned, to make lace and host those tourists who wanted to be melancholy; but the waters rose, and Torcello died for good. Carlo pushed off a wall with his oar, and a big section of it tilted over and sank. He tried not to notice.
He rowed them to the open patch of water that had been the Piazza. Around them stood a few intact rooftops, no taller than the mast of their boat; broken walls of stone or rounded brick; the shadowy suggestion of walls just underwater. It was hard to tell what the street plan of the town would have been. On one side of the Piazza was the cathedral of Santa Maria Ascunta, however, still holding fast, still supporting the white campanile that stood square and solid, as if over a living community.
"That here is the church we desire to dive," Hamada said.
Carlo nodded. The amusement he had felt during the sail was entirely gone. He rowed around the Piazza looking for a flat spot where they could stand and put the scuba gear on. The church outbuildings — it had been an extensive structure — were all underwater. At one point the boat’s keel scraped the ridge of a roof. They rowed down the length of the barnlike nave, looked in the high windows: floored with water. No surprise. One of the small windows in the side of the campanile had been widened with sledgehammers; directly inside it was the stone staircase and, a few steps up, a stone floor. They hooked the boat to the wall and moved their gear up to the floor. In the dim midday light the stone of the interior was pocked with shadows. It had a rough-hewn look. The citizens of Torcello had built the campanile in a hurry, thinking that the world would end at the millennium, the year 1000. Carlo snuled to think how much longer they had had than that. They climbed the steps of the staircase, up to the sudden sunlight of the bell chamber, to look around; viewed Burano, Venice in the distance… to the north, the shallows of the Lagoon, and the coast of Italy. Beyond that, the black line of clouds was like a wall nearly submerged under the horizon, but it was rising; the storm would come.
They descended, put on the scuba gear, and flopped into the water beside the campanile. They were above the complex of church buildings, and it was dark; Carlo slowly led the two Japanese back into the Piazza and swam down. The ground was silted, and Carlo was careful not to step on it. His charges saw the great stone chair in the center of the Piazza (it had been called the Throne of Attila, Carlo remembered from one of his moldy books, and no one had known why), and waving to each other they swam to it. One of th
em made ludicrous attempts to stand on the bottom and walk around in his fins; he threw up clouds of silt. The other joined him. They each sat in the stone chair, columns of bubbles rising from them, and snapped pictures of each other with their underwater cameras. The silt would ruin the shots, Carlo thought. While they cavorted, he wondered sourly what they wanted in the church.
Eventually, Hamada swam up to him and gestured at the church. Behind the mask his eyes were excited. Carlo pumped his fins up and down slowly and led them around to the big entrance at the front. The doors were gone. They swam into the church.
Inside it was dark, and all three of them unhooked their big flashlights and turned them on. Cones of murky water turned to crystal as the beams swept about. The interior of the church was undistinguished, the floor thick with mud. Carlo watched his two customers swim about and let his flashlight beam rove the walls. Some of the underwater windows were still intact, an odd sight. Occasionally the beam caught a column of bubbles, transmuting them to silver.
Quickly enough the Japanese went to the picture at the west end of the nave, a tile mosaic. Taku (Carlo guessed) rubbed the slime off the tiles, vastly improving their color. They had gone to the big one first, the one portraying the Crucifixion, the Resurrection of the Dead, and the Day of Judgment: a busy mural. Carlo swam over to have a better look. But no sooner had the Japanese wiped the wall clean than they were off to the other end of the church, where above the stalls of the apse was another mosaic. Carlo followed.
It didn’t take long to rub this one clean; and when the water had cleared, the three of them floated there, their flashlight beams converged on the picture revealed.
It was the Teotaca Madonna, the God-bearer. She stood against a dull gold background, holding the Child in her arms, staring out at the world with a sad and knowing gaze. Carlo pumped his legs to get above the Japanese, holding his light steady on the Madonna’s face. She looked as though she could see all of the future, up to this moment and beyond; all of her child’s short life, all the terror and calamity after that…. There were mosaic tears on her cheeks. At the sight of them, Carlo could barely check tears of his own from joining the general wetness on his face. He felt that he had suddenly been transposed to a church on the deepest floor of the ocean; the pressure of his feelings threatened to implode him, he could scarcely hold them off. The water was freezing, he was shivering, sending up a thick, nearly continuous column of bubbles… and the Madonna watched. With a kick he turned and swam away. Like startled fish his two companions followed him. Carlo led them out of the church into murky light, then up to the surface, to the boat and the window casement.
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