“I can. What did you have in mind?”
“Oh, looking at the ruins by starlight. The moon goes down about three. I thought we might watch it set together.” Her expression was so open as to be enigmatic.
Two more artists had joined us by dinnertime, which proceeded with a kind of forced jollity. A lot of ron was consumed. White Hill cautioned me against overindulgence. They had the same liquor, called “rum,” on Seldene, and it had a reputation for going down easily but causing storms. There was no legal distilled liquor on my planet.
I had two drinks of it, and retired when people started singing in various languages. I did sleep lightly, though, and was almost awake when White Hill tapped. I could hear two or three people still up, murmuring in the bath. We slipped out quietly.
It was almost cool. The quarter-phase moon was near the horizon, a dim orange, but it gave us enough light to pick our way down the path. It was warmer in the ruins, the tumbled stone still radiating the day’s heat. We walked through to the beach, where it was cooler again. White Hill spread the blanket she had brought and we stretched out and looked up at the stars.
As is always true with a new world, most of the constellations were familiar, with a few bright stars added or subtracted. Neither of our home stars was significant, as dim here as Earth’s Sol is from home. She identified the brightest star overhead as AlphaKent; there was a brighter one on the horizon, but neither of us knew what it was.
We compared names of the constellations we recognized. Some of hers were the same as Earth’s names, like Scorpio, which we call the Insect. It was about halfway up the sky, prominent, embedded in the galaxy’s glow. We both call the brightest star there Antares. The Executioner, which had set perhaps an hour earlier, they call Orion. We had the same meaningless names for its brightest stars, Betelgeuse and Rigel.
“For a sculptor, you know a lot about astronomy,” she said. “When I visited your city, there was too much light to see stars at night.”
“You can see a few from my place. I’m out at Lake Påchlå, about a hundred kaymetras inland.”
“I know. I called you.”
“I wasn’t home?”
“No; you were supposedly on ThetaKent.”
“That’s right, you told me. Our paths crossed in space. And you became that burgher’s slave wife.” I put my hand on her arm. “Sorry I forgot. A lot has gone on. Was he awful?”
She laughed into the darkness. “He offered me a lot to stay.”
“I can imagine.”
She half turned, one breast soft against my arm, and ran a finger up my leg. “Why tax your imagination?”
I wasn’t especially in the mood, but my body was. The robes rustled off easily, their only virtue.
The moon was down now, and I could see only a dim outline of her in the starlight. It was strange to make love deprived of that sense. You would think the absence of it would amplify the others, but I can’t say that it did, except that her heartbeat seemed very strong on the heel of my hand. Her breath was sweet with mint and the smell and taste of her body were agreeable; in fact, there was nothing about her body that I would have cared to change, inside or out, but nevertheless, our progress became difficult after a couple of minutes, and by mute agreement we slowed and stopped. We lay joined together for some time before she spoke.
“The timing is all wrong. I’m sorry.” She drew her face across my arm and I felt tears. “I was just trying not to think about things.”
“It’s all right. The sand doesn’t help, either.” We had gotten a little bit inside, rubbing.
We talked for a while and then drowsed together. When the sky began to lighten, a hot wind from below the horizon woke us up. We went back to the shelter.
Everyone was asleep. We went to shower off the sand and she was amused to see my interest in her quicken. “Let’s take that downstairs,” she whispered, and I followed her down to her room.
The memory of the earlier incapability was there, but it was not greatly inhibiting. Being able to see her made the act more familiar, and besides she was very pleasant to see, from whatever angle. I was able to withhold myself only once, and so the interlude was shorter than either of us would have desired.
We slept together on her narrow bed. Or she slept, rather, while I watched the bar of sunlight grow on the opposite wall, and thought about how everything had changed.
They couldn’t really say we had thirty years to live, since they had no idea what the enemy was doing. It might be three hundred; it might be less than one—but even with bodyswitch that was always true, as it was in the old days: sooner or later something would go wrong and you would die. That I might die at the same instant as ten thousand other people and a planet full of history—that was interesting. But as the room filled with light and I studied her quiet repose, I found her more interesting than that.
I was old enough to be immune to infatuation. Something deep had been growing since Egypt, maybe before. On top of the pyramid, the rising sun dim in the mist, we had sat with our shoulders touching, watching the ancient forms appear below, and I felt a surge of numinism mixed oddly with content. She looked at me—I could only see her eyes—and we didn’t have to say anything about the moment.
And now this. I was sure without words, that she would share this, too. Whatever “this” was. England’s versatile language, like mine and hers, is strangely hobbled by having the one word, love, stand for such a multiplicity of feelings.
Perhaps that lack reveals a truth, that no one love is like any other. There are other truths that you might forget, or ignore, distracted by the growth of love. In Petrosian there is a saying in the palindromic mood that always carries a sardonic, or at least ironic, inflection: “Happiness presages disaster presages happiness.” So if you die happy, it means you were happy when you died. Good timing or bad?
!Oona M’uva had a room next to White Hill, and she was glad to switch with me, an operation that took about three minutes but was good for a much longer period of talk among the other artists. Lo was smugly amused, which in my temporary generosity of spirit I forgave.
Once we were adjacent, we found the button that made the wall slide away, and pushed the two beds together under her window. I’m afraid we were antisocial for a couple of days. It had been some time since either of us had had a lover. And I had never had one like her, literally, out of the dozens. She said that was because I had never been involved with a Seldenian, and I tactfully agreed, banishing five perfectly good memories to amnesia.
It’s true that Seldenian women, and men as well, are better schooled than those of us from normal planets, in the techniques and subtleties of sexual expression. Part of “wholeness,” which I suppose is a weak pun in English. It kept Lo, and not only him, from taking White Hill seriously as an artist: the fact that a Seldenian, to be “whole,” must necessarily treat art as an everyday activity, usually subordinate to affairs of the heart, of the body. Or at least on the same level, which is the point.
The reality is that it is all one to them. What makes Seldenians so alien is that their need for balance in life dissolves hierarchy: this piece of art is valuable, and so is this orgasm, and so is this crumb of bread. The bread crumb connects to the artwork through the artist’s metabolism, which connects to orgasm. Then through a fluid and automatic mixture of logic, metaphor, and rhetoric, the bread crumb links to soil, sunlight, nuclear fusion, the beginning and end of the universe. Any intelligent person can map out chains like that, but to White Hill it was automatic, drilled into her with her first nouns and verbs: Everything is important. Nothing matters. Change the world but stay relaxed.
I could never come around to her way of thinking. But then I was married for fifty Petrosian years to a woman who had stranger beliefs. (The marriage as a social contract actually lasted fifty-seven years; at the half-century mark we took a vacation from each other, and I never saw her again.) White Hill’s worldview gave her an equanimity I had to envy. But my art needed unbal
ance and tension the way hers needed harmony and resolution.
By the fourth day most of the artists had joined us in the shelter. Maybe they grew tired of wandering through the bureaucracy. More likely, they were anxious about their competitors’ progress.
White Hill was drawing designs on large sheets of buff paper and taping them up on our walls. She worked on her feet, bare feet, pacing from diagram to diagram, changing and rearranging. I worked directly inside a shaping box, an invention White Hill had heard of but had never seen. It’s a cube of light a little less than a metra wide. Inside is an image of a sculpture—or a rock or a lump of clay—that you can feel as well as see. You can mold it with your hands or work with finer instruments for cutting, scraping, chipping. It records your progress constantly, so it’s easy to take chances; you can always run it back to an earlier stage.
I spent a few hours every other day cruising in a flyer with Lo and a couple of other sculptors, looking for native materials. We were severely constrained by the decision to put the Memory Park inside, since everything we used had to be small enough to fit through the airlock and purging rooms. You could work with large pieces, but you would have to slice them up and reassemble them, the individual chunks no bigger than two by two by three metras.
We tried to stay congenial and fair during these expeditions. Ideally, you would spot a piece and we would land by it or hover over it long enough to tag it with your ID; in a day or two the robots would deliver it to your “holding area” outside the shelter. If more than one person wanted the piece, which happened as often as not, a decision had to be made before it was tagged. There was a lot of arguing and trading and Solomon-style splitting, which usually satisfied the requirements of something other than art.
The quality of light was changing for the worse. Earthling planetary engineers were spewing bright dust into the upper atmosphere, to reflect back solar heat. (They modified the nanophage-eating machinery for the purpose. That was also designed to fill the atmosphere full of dust, but at a lower level—and each grain of that dust had a tiny chemical brain.) It made the night sky progressively less interesting. I was glad White Hill had chosen to initiate our connection under the stars. It would be some time before we saw them again, if ever.
And it looked like “daylight” was going to be a uniform overcast for the duration of the contest. Without the dynamic of moving sunlight to continually change the appearance of my piece, I had to discard a whole family of first approaches to its design. I was starting to think along the lines of something irrational-looking; something the brain would reject as impossible. The way we mentally veer away from unthinkable things like the Sterilization, and our proximate future.
We had divided into two groups, and jokingly but seriously referred to one another as “originalists” and “realists.” We originalists were continuing our projects on the basis of the charter’s rules: a memorial to the tragedy and its aftermath, a stark sterile reminder in the midst of life. The realists took into account new developments, including the fact that there would probably never be any “midst of life” and, possibly, no audience, after thirty years.
I thought that was excessive. There was plenty of pathos in the original assignment. Adding another, impasto, layer of pathos along with irony and the artist’s fear of personal death … well, we were doing art, not literature. I sincerely hoped their pieces would be fatally muddled by complexity.
If you asked White Hill which group she belonged to, she would of course say, “Both.” I had no idea what form her project was going to take; we had agreed early on to surprise one another, and not impede each other with suggestions. I couldn’t decipher even one-tenth of her diagrams. I speak Seldenian pretty well, but have never mastered the pictographs beyond the usual travelers’ vocabulary. And much of what she was scribbling on the buff sheets of paper was in no language I recognized, an arcane technical symbology.
We talked about other things. Even about the future, as lovers will. Our most probable future was simultaneous death by fire, but it was calming and harmless to make “what if?” plans, in case our hosts somehow were able to find a way around that fate. We did have a choice of many possible futures, if we indeed had more than one. White Hill had never had access to wealth before. She didn’t want to live lavishly, but the idea of being able to explore all the planets excited her.
Of course she had never tried living lavishly. I hoped one day to study her reaction to it, which would be strange. Out of the box of valuables I’d brought along, I gave her a necklace, a traditional beginning-love gift on Petros. It was a network of perfect emeralds and rubies laced in gold.
She examined it closely. “How much is this worth?”
“A million marks, more or less.” She started to hand it back. “Please keep it. Money has no value here, no meaning.”
She was at a loss for words, which was rare enough. “I understand the gesture. But you can’t expect me to value this the way you do.”
“I wouldn’t expect that.”
“Suppose I lose it? I might just set it down somewhere.”
“I know. I’ll still have given it to you.”
She nodded and laughed. “All right. You people are strange.” She slipped the necklace on, still latched, wiggling it over her ears. The colors glowed warm and cold against her olive skin.
She kissed me, a feather, and rushed out of our room wordlessly. She passed right by a mirror without looking at it.
After a couple of hours I went to find her. Lo said he’d seen her go out the door with a lot of water. At the beach I found her footprints marching straight west to the horizon.
She was gone for two days. I was working outside when she came back, wearing nothing but the necklace. There was another necklace in her hand: she had cut off her right braid and interwoven a complex pattern of gold and silver wire into a closed loop. She slipped it over my head and pecked me on the lips and headed for the shelter. When I started to follow she stopped me with a tired gesture. “Let me sleep, eat, wash.” Her voice was a hoarse whisper. “Come to me after dark.”
I sat down, leaning back against a good rock, and thought about very little, touching her braid and smelling it. When it was too dark to see my feet, I went in, and she was waiting.
I spent a lot of time outside, at least in the early morning and late afternoon, studying my accumulation of rocks and ruins. I had images of every piece in my shaping box’s memory, but it was easier to visualize some aspects of the project if I could walk around the elements and touch them.
Inspiration is where you find it. We’d played with an orrery in the museum in Rome, a miniature solar system that had been built of clockwork centuries before the Information Age. There was a wistful, humorous kind of comfort in its jerky regularity.
My mental processes always turn things inside out. Find the terror and hopelessness in that comfort. I had in mind a massive but delicately balanced assemblage that would be viewed by small groups; their presence would cause it to teeter and turn ponderously. It would seem both fragile and huge (though of course the fragility would be an illusion), like the ecosystem that the Fwndyri so abruptly destroyed.
The assemblage would be mounted in such a way that it would seem always in danger of toppling off its base, but hidden weights would make that impossible. The sound of the rolling weights ought to produce a nice anxiety. Whenever a part tapped the floor, the tap would be amplified into a hollow boom.
If the viewers stood absolutely still, it would swing to a halt. As they left, they would disturb it again. I hoped it would disturb them as well.
The large technical problem was measuring the distribution of mass in each of my motley pieces. That would have been easy at home; I could rent a magnetic resonance densitometer to map their insides. There was no such thing on this planet (so rich in things I had no use for!), so I had to make do with a pair of robots and a knife edge. And then start hollowing the pieces out asymmetrically, so that once set in motion, the ass
emblage would tend to rotate.
I had a large number of rocks and artifacts to choose from, and was tempted to use no unifying principle at all, other than the unstable balance of the thing. Boulders and pieces of old statues and fossil machinery. The models I made of such a random collection were ambiguous, though. It was hard to tell whether they would look ominous or ludicrous, built to scale. A symbol of helplessness before an implacable enemy? Or a lurching, crashing junkpile? I decided to take a reasonably conservative approach, dignity rather than daring. After all, the audience would be Earthlings and, if the planet survived, tourists with more money than sophistication. Not my usual jury.
I was able to scavenge twenty long bars of shiny black monofiber, which would be the spokes of my irregular wheel. That would give it some unity of composition: make a cross with four similar chunks of granite at the ordinal points, and a larger chunk at the center. Then build up a web inside, monofiber lines linking bits of this and that.
Some of the people were moving their materials inside Amazonia, to work in the area marked off for the park. White Hill and I decided to stay outside. She said her project was portable, at this stage, and mine would be easy to disassemble and move.
After a couple of weeks, only fifteen artists remained with the project, inside Amazonia or out in the shelter. The others had either quit, surrendering to the passive depression that seemed to be Earth’s new norm, or, in one case, committed suicide. The two from Wolf and Mijhøoven opted for coldsleep, which might be deferred suicide. About one person in three slept through it; one in three came out with some kind of treatable mental disorder. The others went mad and died soon after reawakening, unable or unwilling to live.
Coldsleep wasn’t done on Petros, although some Petrosians went to other worlds to indulge in it as a risky kind of time travel. Sleep until whatever’s wrong with the world has changed. Some people even did it for financial speculation: buy up objects of art or antiques, and sleep for a century or more while their value increases. Of course their value might not increase significantly, or they might be stolen or coopted by family or government.
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