But as I ushered the crew out of the bridge, as I led them in the usual fashion to the usual departure fete in the Grand Palais, as I put this functional duty behind me and went to fill my symbolic role in the floating cultura of the Honored Passengers, I found my consciousness focusing not on the five who accompanied me but on the one who did not. On she whose place in the departure rite had been an empty chaise, whose role in the floating cultura would be equally defined by her absence. On my Void Pilot, Dominique Alia Wu, who would remain, or so I then thought, the unseen center of all these rituals and machineries, the invisible hub of our karmic wheel, the center which was void.
—— IV
As I sit here reviewing what I have just encoded onto word crystal, I ponder whether the scene I have just attempted to render has been infected with my present knowledge of what was to occur later, an uncrafted employment of the time-honored literary device known as foreshadowing. Or had my spirit already been warped by that single chance encounter on the sky ferry? Worse still, is psychic time, like the absolute time of pure mass-energy science, a circled serpent biting its own tail, so that future events color past perceptions, moving us along the inevitable skein of maya via ballistic trajectories of deterministic inevitability?
But in that direction lies both paranoia noir and the guiltless psychopathy that denies destiny and will in favor of surrender to all-absolving karma.
So I will plead not the excuse of karmic inevitability and return to my narrative of conventional linearity with but a passing attempt to illumine the strange mood of the Genro of that timeframe with the hindsight of this.
Which is to say that even as I led my crew down the Dragon’s spinal corridor toward the Grand Palais module, I do believe that I had some dim gray awareness that the void I had felt within the departure ritual, the ennui of resentment I had sensed within me for the first time toward the surrender of true functional command to the automatics, had somehow to do with the impingement upon my Captainly persona of the being of my Void Pilot.
There is no time during the voyage when the Void Captain is not in total command of his ship, or so we are taught at the Academy. The Captain commands the orbital exchange and the Flinger insertion; it is he who gives the Go command and trims vector preparatory to the first Jump. It is he who commands the Jump itself—
—then the ship is several light-years away from its previous locus, and command is resumed after a discontinuity of literally no time at all. I could count on a mean average of twenty Jumps between Earth and Estrella Bonita, three weeks during which the moments I was not in command could not be measured by man’s most subtle timepiece, indeed might be said to have no duration at all.
Yet those twenty odd moments were in an absolute sense all that mattered.
As long as the Void Pilot remained a protoplasmic module in the machineries and nothing more, the illusion of total command could remain complete. But once my Pilot had acquired a name in my consciousness, a name with tales attached to it—in short, humanity and a personality—I could no longer entirely blind myself to the fact that I too was in a sense a protoplasmic module in a complex of automatic machineries, a subjectivity cyborged to the objective mechanism of the ship. Did not all my commands in truth amount to naught save the activation of computer-generated programs, programs that I myself had not personally crafted since my tour as Interface?
When then was I truly in command in the ancient seafaring sense?
Even then, as I led my crew into the Grand Palais, I believe I had achieved—if it is not too rich an irony—an enhanced perception of the inner wisdom of the custom of sequestering the Captain from personal contact with his Pilot, a foreshadowing in real and not literary time of worse things to come.
But this dark mood lifted as soon as I made my first entrance of the voyage into the inner world of the Grand Palais. For here was the other sphere of my Captainly duties, and one that admitted not of mechanistic distancings or excessive objectivization of my central role in its subjective reality.
Indeed, absolute perception of our objective reality was exactly what it was designed to avoid.
In objective reality, five dozen humans were to spend the next three weeks sealed in a series of metal canisters, insulated from the absolute reality of the absolute cold, absolute lifelessness, absolute immensity, and absolute indifference to the human spirit of the deep void between the stars. Long experience, dating back to the dawn of the First Starfaring Age, had shown that naked exposure to the psychic reality of the void was as deadly to the spirit as naked exposure to the physical reality would be to the flesh.
In those bygone days when starfaring meant generations spent in a single voyage, it was soon learned that only ships large enough to be worlds entire could sanely convey their human cargo from star to star, indeed that further, only carefully crafted shipboard cultures would prove viable: those in which rite, art, festival, entertainment, indeed interior architecture itself, were all designed to concentrate consciousness on the world inside, and to avoid excessive true awareness of the absolute reality without. Vast transparent vistas of the starry glories, while technically feasible and esthetically satisfying in an absolute sense, proved ultimately destructive to the soul. Consciousness liberated from ritual, custom, and role, while part of the general philosophic bravery of the age, proved too naked and vulnerable in the face of true chaos; indeed, our current acceptance of the quotidian metaphors for the absolute as necessary psychic artifacts is thought to date from this confrontation of total clarity with total necessity.
Apres the Jump, with voyage times reduced to weeks instead of generations and the electrocoma storage of passengers reducing the subjective duration to zero, it was first assumed that Void Ship crews could endure the naked absolute. Indeed many did. But too many did not.
Thus the institution of the society of Honored Passengers and the Grand Palais, not out of desire to increase the profitability of the voyage—for a long time these fares were subsidized at a loss—but out of the necessity to create for the crew an interior world not merely of artifact but of culture, not merely of thing but of spirit; rich enough, complex enough, human enough to focus attention on the reality within rather than the void without.
Only later, when starfaring became the ultimate pastime of the rich and the wanderer, the seeker and the ennui-ridden, did the fare rise far beyond the point of economic profitability, did ship vie with ship in the luxuriousness of its Grand Palais and the hedonics to be found therein, did figure and ground reverse themselves, did the floating cultura and its endless fete become its own raison d’etre, did Captain and crew become personas in a system of shipboard dynamics designed as much for the savor of the Honored Passengers as for the mental centering of the ship’s officers.
The Dragon Zephyr configuration contained one standard stateroom module quartering fifty Honored Passengers, the domo, and the staff of ten freeservants. While this mandated a single Grand Palais module of standard volume, the Grand Palais Zephyr, like all such modules, was a sui generis and idiosyncratic work of art within its standard cylindrical shell.
The main passage from the Dragon’s spine debouched directly into the grand salon deck, following the usual esthetic logic. What was a functional steel safety door on the outside was abstracted filigreed brasswork on the inside and opened onto a dramatically lit pink marble platform for grand entrance sake. This in turn was the capstone landing of a short curving flight of marble stairs down which all who entered must promenade in full sight to reach the main floor of the salon.
The main floor itself was a rather cunning sort of integrated environmental sculpture in assorted polished and occasionally carven hardwoods, carpetings of many different textures, hues, and designs, and plushed cushions sensuously curved in rather anthropomorphic shapes. There were no furniture, consistent floor, or ornamental sculpture as discrete elements; rather chaises, conversation pits, tables, wooden sculptures, cushions, und so weiter flowed and metamorphosed into ea
ch other, indeed seemed to evolve out of each other in an organic whole of many subtle levels, sublevels, and gradations in an artfully chaotic multiplexity seemingly as convoluted as the human brain.
Hanging high above in the vaguely burgundy shadows of the overarching ceiling was a huge mobile chandelier of multicolored crystals lit from within, a dazzlingly complex dance of orbiting elements softly dappling all below in an ever-changing prismatic pavane. In addition, small spots, glowing globes, candled sconces, and holosimed fires added dramatic highlights, subtle counterpoints, circles of brilliance, to the overall spectral complexity of the whole.
Across from the main entrance, a kind of ramp or balcony began at mean floor level, spiraling twice around the zebrawood walls before disappearing through an archway high above us. This was scattered with tiny cafe tables and chairs whose legs were cunningly crafted in an asymmetric manner to remain level against the subtle pitch of the ramp for those who preferred an observatory tete-a-tete to direct participation. Visual artworks in various modes formed a mini-museum along the walls of the ramp, which also triplexed its function by leading to the vivarium above, which was both the “top” deck of the Grand Palais and its esthetic piece de resistance.
The departure fete was in full flight as I paused on the entrance platform with the full muster of my crew behind me. All the Honored Passengers were in attendance in their finest plumage; freeservants emerged via the lift from the cuisinary deck below bearing silver trays of hot viands to augment the scattered cold buffets; floaters of beverages circulated among the revelers, fumes of assorted intoxicants perfumed the air; focused musics in various styles harmonized into an overall fugue from this aural overlook. The essential ambiance of the floating cultura was in full flower. Our Domo, Lorenza Kareen Patali, had thusfar done herself proud.
This was hardly surprising; for although I had never shipped with Lorenza before, her repute was wide in more modes than one, and her name tale was au courant among Void officers and floating cultura alike.
Her father, Patali Ktan Abrim, had been that rarity, a Void Captain who had cunningly invested his wage in mercantile realms, and who upon retirement chose to join the floating cultura itself as an Honored Passenger. Her mother, Kareen Mime Mois, had inherited vast wealth as a young child of fortune, had chosen to spend it in the floating cultura, had met Patali Ktan Abrim five years before his retirement while an Honored Passenger on his ship, the Star Phoenix, had thereafter been an Honored Passenger on every ship under his command, and no doubt had decisively influenced his ultimate choice of retirement venue.
Lorenza Kareen Patali had been conceived by this pair on the Unicorn Garden, had been born on the Flame Mountain, had been raised to womanhood in the floating cultura by her parents, who voyaged together to this day, and prided herself on never having set foot on a planetary surface.
Her freenom, Lorenza, she chose upon her first appointment as Domo de Grand Palais homage a Lorenzo the Magnificent, a perhaps legendary doge of the perhaps legendary terrestrial city of Venice, famed in lore as a patron of art, opulence, and decadently magnificent hospitality.
It was gossiped among officers that Lorenza Kareen Patali sought after her own Void Captain with whom to recreate the love story of her parents. It was said she possessed the wealth to confer the boon of eternal Honored Passenger status on whom she chose; it was also said that she had never shipped with a Void Captain who had not become her amour in flesh as well as metaphor.
This apocrypha certainly lost no credence in my eyes at the sight of the woman slowly and dramatically mounting the stairs toward us in a flourish of her flowing garments, playing to the hushed revelers below with full consciousness of her thespic beauty.
Tall and sinuous, long of limb, petite of bosom, she wore a long train of some silvery gossamer gathered into an artificial waist just below her bare breasts by a wide dirndl so encrusted with multicolored gems that the color of its matrix material remained a mystery. From her shoulders flowed a long, high-collared cloak of black velvet veined with traceries of silver thread. Her nipples were capped by silver brooches upon which blazed huge rubies lit from within. Her long blood-red hair was helmeted above her head, secured in place by strings of Tartanian snow-pearls. Her skin was a preternaturally lustrous black, her features thin, delicate, but dramatically chiseled, and her eyes a lucent sapphire blue.
Even in an age when a woman’s appearance could be an entirely self-crafted work of art, indeed perhaps because mere genetically inherited beauty could be simulated at whim by the biocosmetician’s skills, Lorenza Kareen Patali’s fleshly persona was outrageously audacious in its outre concept and entirely stunning in its successful execution.
“Salutations and greetings, Captain Genro Kane Gupta, and welcome to the fete,” she said in an intimate purr that yet carried for effect to the far reaches of the salon. She held out her hand for my greeting; I took it, raised it in the general direction of my lips, but did not kiss.
“Bienvenidos, Domo Lorenza Kareen Patali,” I replied with equally thespic formality, pitching my salutation to encompass the Honored Passengers below, and turning my head to face them. “Salutations to your Honored Passengers, from your Captain and your crew.”
Following the ritual with punctilio but also with a certain detachment of attention, I introduced Interface Argus Edison Gandhi and Man Jack Mori Lao Chaka in that order and in those functional terms as protocol dictates. Each in turn bowed briefly to the salon, to the Domo, to the Captain, and then descended individually, basking for a moment in the full attention of the floating cultura before being absorbed into it; Argus with a certain would-be Captainly hauteur, Mori with the more forthright enthusiasm of the junior officer.
“Your Med crew, Maestro Hiro Alin Nagy, Healer Lao Dant Arena, Med Man Jack Bondi Mackenzie Cole…” These three I introduced all together as a functional unit, and as a triparte unit they descended the stairs together with more perfunctory bows, metaphoric of the Med crew’s role of dedicated detachment from the voyage-long fete of the floating cultura.
“Allow me, my Captain,” Lorenza said ceremoniously, hooking my arm in hers.
“My pleasure, Domo Lorenza,” I replied formally, and we descended arm in arm into the fete, which, with the customary stylization of hushes and flourishes, resumed its previous pavane of varied amusements ere we had reached it, allowing Captain and Domo their traditional interval of initiatory acquaintance.
The origin of the duet of Captain and Domo played out for the delectation of the floating cultura is lost in the distant mists of starfaring’s antique social evolution, but its post facto rationale in shipboard dynamics is taught at the Academy.
As the Captain serves as the apex of the crew, so does the Domo serve as the apex of the Honored Passengers. The Captain, the yang, maestro of the propulsive, the exterior, the objective component of the voyage, derives his hierarchical pouvoir from his functional position atop the structure of the crew; he is defined by his authority to command. The Domo, the yin, maestra of the nurturative, the interior, the subjective component of the voyage, derives not pouvoir but puissance from her psychic position as the focus of the Honored Passengers’ collective desire; she is defined by her ability to please her clientele with artistically, libidinally, and socially satisfying ambiance.
Thus, the multiplex dualities of the voyage—the yang and the yin, the propulsive and the nurturative, the objective and the subjective, the hierarchical and the democratic, pouvoir and puissance, the exterior and the interior, the cold, dark void without and the bright, glittering complexity within—are embodied and metaphored in the Captain and the Domo.
Ideally, their duet d’amour embodies the higher unity that transcends these dualities of maya, expresses and confirms the ultimate source of social, psychic, and spiritual energy in the dialectic between yang and yin, objective knowledge and subjective desire, that phenomenon of the interface between that is both spiritually subjective and a biological mass-energy reality—the l
ibidinal tension, the prana, that some identify as the life force itself.
On a less metaphysically exalted level, the ritualized affair d’amour between Captain and Domo serves to maintain the necessary psychosexual distance between both Captain and Domo and the ever-shifting patterns of lustful liaison that dance to the sybaritic music of the Grand Palais. While both Captain and Domo are free to indulge their caprices d’amour from moment to moment with Honored Passengers of the floating cultura, their traditional voyage-long liaison—sometimes mere useful metaphor, frequently not—maintains their roles as archetypal embodiments of the overall shipboard dynamics of yang and yin and prevents them from forming liaisons of the heart with those to whom they must remain living but psychically distant metaphors if dynamic balance is to be maintained.
Thus are we taught at the Academy. In the unofficial lore bandied by officers, elaborate jocularities are derived from the notion that in Captain and Domo do the opposite worlds of bridge and Grand Palais maintain cordiality in the face of inherent psychic differences, even as men and women, through the aqua regia of sexual congress.
Truth be told, I have long believed that the custom is one of those inner mysteries of archetypal drama whose highest function is to remain forever beyond the final analysis of the actors involved.
And my curious reaction to the fabled and dazzling Lorenza Kareen Patali did little to disabuse me of this paradoxical conviction.
It goes without saying that my organism was lustfully magnetized by this persona of all fleshly desire, whose every detail was magnificently crafted to evoke just this response; the diaphany of her gown, the jeweled brilliance of her rubied nipples thrust upward by the tightly cinched dirndl, the velvet texture of her ebon skin, the sapphire sparkle of her glowing eyes, even her rosy musk, which seemed all but designed to accord with my pheromonic ideal of womanly savor.
The Void Captain's tale Page 4
