Gustav stood up and made his way between the twirling dancers and the lantern-strung trees. His skin tingled as he stepped out of the reality, and the laughter and the music suddenly faded. Avoiding any other such encounters, he made his way back up the dim streets to his tenement.
There, back at home, the light from the setting moon was bright enough for him to make his way through the dim wreckage of his life without falling— and the terminal that Elanore's ghost had reactivated still gave off a virtual glow. Swaying, breathless, Gustav paged down into his accounts, and saw the huge sum— the kind of figure that he associated with astronomy, with the distance of the moon from the earth, the earth from the sun— that now appeared there. Then he passed back through the terminal's levels, and began to search for Elanore.
But Elanore wasn't there.
*
Gustav was painting. When he felt like this, he loved and hated the canvas in almost equal measures. The outside world, foreal or in reality, ceased to exist for him.
A woman, naked, languid, and with a dusky skin quite unlike Elanore's, is lying upon a couch, half-turned, her face cupped in her hand that lies upon the primrose pillow, her eyes gazing away from the onlooker at something far off. She seems beautiful but unerotic, vulnerable yet clearly available, and self-absorbed. Behind her— amid the twirls of bright yet gloomy decoration— lies a glimpse of stylized rocks under a strange sky, while two oddly disturbing figures are talking, and a dark bird perches on the lip of a balcony; perhaps a raven.…
Although he detests plagiarism, and is working solely from memory, Gustav finds it hard to break away from Gauguin's nude on this canvas he is now painting. But he really isn't fighting that hard to do so, anyway. In this above all of Gauguin's great paintings, stripped of the crap and the despair and the self-justifying symbolism, Gauguin was simply right. So Gustav still keeps working, and the paint sometimes almost seems to want to obey him. He doesn't know or care at the moment what the thing will turn out like. If it's good, he might think of it as his tribute to Elanore; and if it isn't… Well, he knows that, once he's finished this painting, he will start another one. Right now, that's all that matters.
Elanore was right, Gustav decides, when she once said that he was entirely selfish, and would sacrifice everything— himself included— just so that he could continue to paint. She was eternally right and, in her own way, she too was always searching for the next challenge, the next river to cross. Of course, they should have made more of the time that they had together, but as Elanore's ghost admitted at that van Gogh café when she finally came to say goodbye, nothing could ever quite be the same.
Gustav stepped back from his canvas and studied it, eyes half-closed at first just to get the shape, then with a more appraising gaze. Yes, he told himself, and reminded himself to tell himself again later when he began to feel sick and miserable about it, this is a true work. This is worthwhile.
Then, and although there was much that he still had to do, and the oils were still wet, and he knew that he should rest the canvas, he swirled his brush in a blackish puddle of palette-mud and daubed the word NEVERMORE across the top, and stepped back again, wondering what to paint next.
The Wisdom of Old Earth
MICHAEL SWANWICK
One of the most popular and respected of all the new writers who entered the field in the eighties, Michael Swanwick made his debut in 1980 with two strong and compelling stories, "The Feast of St. Janis" and "Ginungagap," both of which were Nebula Award finalists that year, and which were both selected either for a Best of the Year anthology or for that year's annual Nebula Awards volume— as auspicious a debut as anyone has ever made.
He stayed in the public eye, and on major award ballots, throughout the rest of the eighties with intense and powerful stories such as "Mummer Kiss," "The Man Who Met Picasso," "Trojan Horse." "Dogfight" (written with William Gibson), "Covenant of Souls," "The Dragon Line," "Snow Angles," "A Midwinter's Tale," and many others— all of which earned him a reputation as one of the most powerful and consistently inventive short-story writers of his generation. Nor did his output of short fiction slacken noticeably in the nineties, in spite of a burgeoning career as a novelist, and recent years have seen the appearance of major Swanwick stories such as "The Edge of the World," "The Changling's Tale," "Griffin's Egg," "Cold Iron," and "The Dead"; he remains one of SF's most prolific writers at short lengths. By the end of the nineties, his short work would have won him several Asimov's Reader's Awards, a Sturgeon Award, the World Fantasy Award, and back-to-back Hugo Awards— he won the Hugo in 1999 for his story "The Very Pulse of the Machine," and followed it up in 2000 with another Hugo Award for his story "Scherzo with Tyrannosaur."
At first, his reputation as a novelist lagged behind his reputation as a short-story writer, with his first novel, In The Drift— published in 1985 as part of Terry Carr's resurrected Ace Specials line, along with first novels by William Gibson, Kim Stanley Robinson, and Lucius Shepard— largely ignored by the critics, and panned by some of them. His second novel, though, the critically acclaimed Vacuum Flowers, caused a stir, and with his third and perhaps best-known novel, Stations of the Tide, he established himself firmly as among the vanguard of the hot new novelists of the nineties; Stations of the Tide won him a Nebula Award in 1991. His next novel, The Iron Dragon's Daughter, a finalist for both the World Fantasy Award and the Arthur C. Clarke Award (a unique distinction!), explored new literary territory on the ambiguous borderland of science fiction and fantasy, and has been hailed by some critics as the first example of an as yet still nascent subgenre called "Hard Fantasy" (sort of a mix between the Dickensian sensibilities of "steampunk," high-tech science fiction, and traditional Tolkienesque fantasy). His most recent novel Jack Faust, a sly reworking of the Faust legend that explores the unexpected impact of technology on society, blurs genre boundaries even more and has garnered rave reviews from nearly every source from The Washington Post to Interzone. He's just finished a new novel, featuring time-travelers and hungry dinosaurs.
Here he takes us to a bizarre and vividly realized far future, where the gulf between human and posthuman has become very large and virtually uncrossable, to learn an ancient lesson: If you want wisdom, you must be prepared to pay for it.…
Swanwick's other books include the novella-length Griffin's Egg, one of the most brilliant and compelling of modern-day Moon-colony stories. His short fiction has been assembled in Gravity's Angels, A Geography of Unknown Lands, and in a collection of his collaborative short work with other writers, Slow Dancing Through Time. He's also published a collection of critical articles, The Postmodern Archipelago. His most recent books are three new collections, Moon Dogs, Puck Aleshire's Abecedary, and Tales of Old Earth. Swanwick lives in Philadelphia with his wife, Marianne Porter, and their son Sean.
*
Judith Seize-the-Day was, quite simply, the best of her kind. Many another had aspired to the clarity of posthuman thought, and several might claim some rude mastery of its essentials, but she alone came to understand it as completely as any offworlder.
Such understanding did not come easily. The human mind is slow to generalize and even slower to integrate. It lacks the quicksilver apprehension of the posthuman. The simplest truth must be repeated often to imprint even the most primitive understanding of what comes naturally and without effort to the spacefaring children of humanity. Judith had grown up in Pole Star City, where the shuttles slant down through the zone of permanent depletion in order to avoid further damage to the fragile ozone layer, and thus from childhood had associated extensively with the highly evolved. It was only natural that as a woman she would elect to turn her back on her own brutish kind and strive to bootstrap herself into a higher order.
Yet even then she was like an ape trying to pass as a philosopher. For all her laborious ponderings, she did not yet comprehend the core wisdom of posthumanity, which was that thought and action must be as one. Being a human, however, when she did comprehend,
she understood it more deeply and thoroughly than the posthumans themselves. As a Canadian she could tap into the ancient and chthonic wisdoms of her race. Where her thought went, the civilized mind could not follow.
It would be expecting too much of such a woman that she would entirely hide her contempt for her own kind. She cursed the two trollish Ninglanders who were sweating and chopping a way through the lush tangles of kudzu, and drove them onward with the lash of her tongue.
"Unevolved bastard pigs!" she spat. "Inbred degenerates! If you ever want to get home to molest your dogs and baby sisters again, you'll put your backs into it!"
The larger of the creatures looked back at her with an angry gleam in his eye, and his knuckles whitened on the hilt of his machete. She only grinned humorlessly, and patted the holster of her ankh. Such weapons were rarely allowed humans. Her possession of it was a mark of the great respect in which she was held.
The brute returned to his labor.
It was deepest winter, and the jungle tracts of what had once been the mid-Atlantic coastlands were traversable. Traversable, that is, if one had a good guide. Judith was among the best. She had brought her party alive to the Flying Hills of southern Pennsylvania, and not many could have done that. Her client had come in search of the fabled bell of liberty, which many another party had sought in vain. She did not believe he would find it either. But that did not concern her.
All that concerned her was their survival.
So she cursed and drove the savage Ninglanders before her, until all at once they broke through the vines and brush out of shadow and into a clearing.
All three stood unmoving for an instant, staring out over the clumps and hillocks of grass that covered the foundations of what had once been factories, perhaps, or workers' housing, gasoline distribution stations, grist mills, shopping malls.… Even the skyline was uneven. Mystery beckoned from every ambiguous lump.
It was almost noon. They had been walking since sundown.
Judith slipped on her goggles and scanned the grey skies for navigation satellites. She found three radar beacons within range. A utility accepted their input and calculated her position: less than a hundred miles from Philadelphia. They'd made more distance than she'd expected. The empathic function mapped for her the locations of her party: three, including herself, then one, then two, then one, strung over a mile and a half of trail. That was wrong.
Very wrong indeed.
"Pop the tents," she ordered, letting the goggles fall around her neck. "Stay out of the food."
The Ninglanders dropped their packs. One lifted a refrigeration stick over his head like a spear and slammed it into the ground. A wash of cool air swept over them all. His lips curled with pleasure, revealing broken yellow teeth.
She knew that if she lingered, she would not be able to face the oppressive jungle heat again. So, turning, Judith strode back the way she'd come. Rats scattered at her approach, disappearing into hot green shadow.
The first of her party she encountered was Harry Work-to-Death. His face was pale and he shivered uncontrollably. But he kept walking, because to stop was to die. They passed each other without a word. Judith doubted he would live out the trip. He had picked up something after their disastrous spill in the Hudson. There were opiates enough in what survived of the medical kit to put him out of his misery, but she did not make him the offer.
She could not bring herself to.
Half a mile later came Leeza Child-of-Scorn and Maria Triumph-of-the-Will, chattering and laughing together. They stopped when they saw her. Judith raised her ankh in the air, and shook it so that they could feel its aura scrape ever so lightly against their nervous systems.
"Where is the offworlder?" The women shrank from her anger. "You abandoned him. You dared. Did you think you could get away with it? You were fools if you did!"
Wheedlingly, Leeza said, "The sky man knew he was endangering the rest of us, so he asked to be left behind." She and Maria were full-blooded Canadians, like Judith, free of the taint of Southern genes. They had been hired for their intelligence, and intelligence they had— a low sort of animal cunning that made them dangerously unreliable when the going got hard. "He insisted."
"It was very noble of him," Maria said piously.
"I'll give you something to be noble about if you don't turn around and lead me back to where you left him." She holstered her ankh, but did not lock it down. "Now!" With blows of her fists, she forced them down the trail. Judith was short, stocky, all muscle. She drove them before her like the curs that they were.
*
The offworlder lay in the weeds where he had been dropped, one leg twisted at an odd angle. The litter that Judith had lashed together for him had been flung into the bushes.
His clothes were bedraggled, and the netting had pulled away from his collar. But weak as he was, he smiled to see her. "I knew you would return for me." His hands fluttered up in a gesture indicating absolute confidence. "So I was careful to avoid moving. The fracture will have to be reset. But that's well within your capabilities, I'm sure."
"I haven't lost a client yet." Judith unlaced his splint and carefully straightened the leg. Posthumans, spending so much of their time in microgravity environments, were significantly less robust than their ancestral stock. Their bones broke easily. Yet when she reset the femur and tied up the splint again with lengths of nylon cord, he didn't make a sound. His kind had conscious control over their endorphin production. Judith checked his neck for ticks and chiggers, then tucked in his netting. "Be more careful with this. There are a lot of ugly diseases loose out here."
"My immune system is stronger than you'd suspect. If the rest of me were as strong, I wouldn't be holding you back like this."
As a rule, she liked the posthuman women better than their men. The men were hothouse flowers— flighty, elliptical, full of fancies and elaboration. Their beauty was the beauty of a statue; all sculptured features and chill affect. The offworlder, however, was not like that. His look was direct. He was as solid and straightforward as a woman.
"While I was lying here, I almost prayed for a rescue party."
To God, she thought he meant. Then saw how his eyes lifted briefly, involuntarily, to the clouds and the satellites beyond. Much that for humans required machines, a posthuman could accomplish with precisely tailored neural implants.
"They would've turned you down." This Judith knew for a fact. Her mother, Ellen To-the-Manner-Born, had died in the jungles of Wisconsin, eaten away with gangrene and cursing the wardens over an open circuit.
"Yes, of course, one life is nothing compared to the health of the planet." His mouth twisted wryly. "Yet still, I confess I was tempted."
"Put him back in the litter," she told the women. "Carry him gently." In the Québecois dialect, which she was certain her client did not know, she added, "Do this again, and I'll kill you."
She lagged behind, letting the others advance out of sight, so she could think. In theory, she could simply keep the party together. In practice, the women could not both carry the offworlder and keep up with the men. And if she did not stay with the Ninglanders, they would not work. There were only so many days of winter left. Speed was essential.
An unexpected peal of laughter floated back to her, then silence.
Wearily, she trudged on. Already they had forgotten her, and her ankh. Almost she could envy them. Her responsibilities weighed heavily upon her. She had not laughed since the Hudson.
According to her goggles, there was a supply cache in Philadelphia. Once there, they could go back on full rations again.
*
The tents were bright mushrooms in the clearing. Work-to-Death lay dying within one of them. The women had gone off with the men into the bush. Even in this ungodly heat and humidity, they were unable or unwilling to curb their bestial lusts.
Judith sat outside with the offworlder, the refrigeration stick turned up just enough to take the edge off the afternoon heat. To get him talking, she
asked, "Why did you come to Earth? There is nothing here worth all your suffering. Were I you, I'd've turned back long ago."
For a long moment, the offworlder struggled to gear down his complex thoughts into terms Judith could comprehend. At last he said, "Consider evolution. Things do not evolve from lower states to higher, as the ancients believed, with their charts that began with a fish crawling up upon the land and progressed on to mammals, apes, Neanderthals, and finally men. Rather, an organism evolves to fit its environment. An ape cannot live in the ocean. A human cannot brachiate. Each thrives in its own niche.
"Now consider posthumanity. Our environment is entirely artificial— floating cities, the Martian subsurface, the Venusian and Jovian bubbles. Such habitats require social integration of a high order. A human could survive within them, possibly, but she would not thrive. Our surround is self-defined, and therefore within it we are the pinnacle of evolution."
As he spoke, his hands twitched with the suppressed urge to amplify and clarify his words with the secondary emotive language offworlders employed in parallel with the spoken. Thinking, of course, that she did not savvy handsign. But as her facility with it was minimal, Judith did not enlighten him.
"Now imagine a being with more-than-human strength and greater-than-posthuman intellect. Such a creature would be at a disadvantage in the posthuman environment. She would be an evolutionary dead end. How then could she get any sense of herself, what she could do, and what she could not?"
"How does all apply to you personally?"
"I wanted to find the measure of myself, not as a product of an environ ment that caters to my strengths and coddles my weaknesses. I wanted to discover what I am in the natural state."
"You won't find the natural state here. We're living in the aftermath."
Supermen: Tales of the Posthuman Future Page 40
