This enormous rift was probably caused by graben events, when the relatively brittle crust fractured. Analysis shows that lakes had once existed along the base of Marineris.
So Hawkwood decided that what seemed like cave entrances would be worth inspecting. He hoped to find reservoirs of underground water. This was in the third month of 2064. However, when assembling his expedition, he found he could muster only one speleologist, a nervous young low-temperature physicist called Chad Chester. To Dreiser's way of thinking, Kathi Skadmorr was much the more foolhardy of the two.
Two buggies containing six people as well as equipment and supplies made the difficult journey overland. Dreiser had insisted on being present. He could strike up no conversation with the Hobart woman, who had retreated into an all-embracing silence.
Kathi stared unspeaking at the Marscape. She had known not dissimilar landscapes back home, long ago. Her intuition was that the very antiquity of these empty vistas had rendered them sacred, as she told me later. She experienced a longing to jump out and paint religious symbols on the boulders they passed.
At last they gained the comparatively smooth floor of the great rift valley. Its high wall towered above them. Of the cliff on the far side they could see nothing; it was lost in distance.
They made slow progress against a strong wind and, when they came to the first three caves, found them blind. The fourth they were able to enter further. Kathi and Chester wore scuba gear. Chester had allowed Kathi to go ahead. Her headlamp showed that the passage was going to narrow rapidly. Suddenly, the floor beneath her caved in and she fell. She disappeared from sight of the others. They cried with alarm before advancing cautiously on the hole.
Kathi was sprawling 2 metres below. 'I'm okay,' she said. 'It was a false floor. Things get more interesting here. Come on down, Chad.'
She stood up and went ahead without waiting for the others.
The rock in her path was tumbled and treacherous. She climbed down with the roof overhead narrowing, until she was moving within a chimney and in danger of snagging her suit. She called up to the rest of the expedition not to follow, else she would have been struck by falling rock.
At last she reached the end of the chimney. Slipping amid scree, she was able to stand again - to find herself in a large cave, which she described over the radio as the size of a cottage - 'contemptible by the dimensions of caves in the Mulu Park area'.
The floor of the cave contained a small pool of ice.
The rest of the team cheered when they heard of this.
Skirting the ice, Kathi explored the cave and reached a narrow cleft at the far end. Squeezing through it, she entered a small dark hole. She was forced to crawl on hands and knees to cross it, where she found a kind of natural staircase, leading down. This she reported to Dreiser.
'Take care, damn it,' he said.
The staircase widened. She squeezed past a boulder and found herself in a larger cavern, in cross-section resembling a half-open clam. The roof was scalloped elaborately, as if by hand, the ancient product of swirling water. And the floor of this cavern held a pool of water, unfrozen. She lobbed a small rock into it. Ripples flowed to the sides in perfect circles.
Her heart was beating fast. She knew she was the first person ever to see extensive water in its free state on the Red Planet.
She waded into it. The ripples stirred by her entry caused light patterns to play on the roof above.
The water came up to her breasts and no further. She plunged and swam below the surface. Her light revealed a dark plug hole on the stony bed. She swam vertically down it, to find herself in a chimney with smooth sides. As it narrowed, she had to push against the sides rather than swim. The fit became tighter and tighter. She could not turn to go back. Her light failed.
The team were calling her on the radio. She did not reply. She could hear her own labouring breath. She squeezed forward with great effort, her arms stretched out in front of her.
The tube seemed to go on for ever as she moved, head down. She thought there was a dim light ahead, or else her sight was failing.
She found herself shooting from the tube like a cork from a bottle. She was floundering upward in a milky sea. Her head emerged into the open. Breathing heavily, she managed to haul herself on to a dry ledge. She was in some sort of a natural underground reservoir. The ceiling was only 2 feet above her. She thought, 'What if it rains?' But that thought came from back in Sarawak, where even a distant shower of rain might cause water levels to rise dramatically and drown an unwary speleologist. On Mars there was no danger of rain.
As her pulse steadied, she stared across the phosphorescent pool, whose depth she estimated to be at least 12 metres. Kathi knew that humble classes of aquatic animals emitted light without heat. But was there not also a mere chemical phosphorescence? Had she stumbled on the first traces of Martian life? She could not tell. But lying on the shelf of rock, unsure of how she would ever emerge again to the surface, she told herself that she was detecting a Martian consciousness. She looked about in the dimness: there was nothing, only the solemn slap of water against rock, reflected and magnified by the low roof overhead. Was she not in the very throat of the monster?
She lay completely still, switching off her radio to listen, there, at least a kilometre beneath the surface of the planet. If it had a heart, she was now a part of it.
The situation was somewhat to her liking.
When she switched on her radio, the babble of humanity came to her. They were going to rescue her. Chad was possibly in an adjacent chamber. She was to stay put. Was she okay?
Without deigning to answer that, she reported that the temperature reading was 2 degrees above zero Celsius and that she had taken a water sample. She still had a reserve of 3.6 hours of air. Sure, she would stay where she was. And she would keep the radio on.
She lay on the ledge, perfectly relaxed. After a while she swam in the phosphorescent reservoir. At one corner, water fell from the roof in a slow drip, every drop measuring out a minute.
Raising herself in the water, her fingers detected a crevice in the rock overhead. Hauling herself up, she found she could thrust her arm into a niche. With this leverage she could also wedge a foot in the niche, and so cling, dripping, above the water. By slow exploration, she was able to ease herself into the rock. She cursed the lack of light, and cursed her failed headlight. Inch by painful inch, she dragged herself through the broken rock fissures. She was in total darkness, apart from an occasional glint of falling water drops. She struck her head on rock.
The one way forward was to twist over on her back and propel herself by hands and feet. She worked like that for ten minutes, sweating inside her suit. Then she was able to get on to her hands and knees.
Gingerly she stood up. Hands stretched before her, she took a step forward. Something crackled beneath the flippers of her suit. She felt and brought up a fragment of ice. In so doing, she clipped her headlamp against rock. Feeling forward, she came on sharp rock everywhere. She stood in the darkness, nonplussed. When she stretched her arms out sideways, she touched rock on either side. As far as she could determine, she was trapped in a narrow fissure. In the pitch dark, the fallen rocks were too dangerous to negotiate. So she stood there, unable to move.
At length, with what seemed to her like unutterable slyness, the dimmest of lights began to glow. Slowly the illumination brightened. Coming from a distant point, it showed Kathi that she was indeed standing in the merest crack between two rough shoulders of rock. The floor of this crack was littered with debris. She recognised a vadose passage, formed by a flow of water cutting into the rock.
She summoned up all her courage. With her awe came a cold excitement. She was convinced that she had intruded into a lofty consciousness and that some part of it - whether physical or mental - was now approaching her. Her upbringing had accustomed her to sacred places. Now she must face the wrath or at best the curiosity of something, some ancient unknown thing. She felt her lower jaw trembl
e as the light increased. There was nowhere she could run to.
The light became a dazzle.
'Oh, there you are! Why did you rush off like that?' said Chad Chester, in an annoyed voice. 'You could have been in deep shit.'
She was back in the buggy, sipping hot coffdrink. Dreiser put an arm protectively about her shoulders. 'You gave us all quite a scare.'
'Why wasn't your lousy headlamp maintained? You're as bad as the slavedrivers in Sarawak.'
'At least we have established the existence of subterranean water, thanks to you,' he said comfortably.
8
The Saccharine/Strychnine Drip
Meanwhile our humdrum lives in the domes were continuing, but I at least was filled with optimism regarding our plans, which ripened day by day.
Adminex circulated our findings on the Ambient and published them on impounded EUPACUS printers. We emphasised that people must be clear on what was acceptable. We invited suggestions for guiding principles.
We suggested a common meeting for discussion in Hindenburg every morning, which anyone might attend.
We placed a high priority on tolerance and the cultivation of empathy.
We concluded by saying, What Cannot be Avoided Must Be Endured.
I received a message back on my Ambient link, saying, 'Be practical, will you? We need more toilets, boss. What cannot be endured must be avoided.' I recognised Beau Stephens's voice.
In those days, I became too busy to think about myself. There was much to organise. Yet some things organised themselves. Among them, sport and music.
I was jo-joing back from the new hospital wing when I saw the freshly invented game of skyball being played in the sports arena. I stopped to watch. Aktau Badawi was with me.
Skyball was a team game played with two balls the size of footballs. One ball, painted blue, was half filled with helium so that, when kicked into the air, its descent was slow. Play could continue only when the blue ball was in the air. Grouping and positioning went on while it was descending. The blue ball could not be handled, unlike the other ball, which was brown.
'Thankfully, we are too old to play, Tom,' said Aktau.
A young man turned from the watching crowd and offered to explain the subtleties of the game to us.
We laughingly said we did not wish to know. We would never play.
'Nor would I,' the man said, 'but I in fact invented the blue ball in honour of our lighter gravity. My name is Guenz Kanli, and I wish to speak to you about another innovation I have in mind.'
He fell in with us and we walked back to my office.
Guenz Kanli had a curious physiognomy. The flesh of his face seemed not to fit well over his skull, which came to a peak at the rear. This strange-looking man came from Kazakstan in Central Asia. He was a YEA who, at twenty years of age, had fallen in love with the desolation of the Martian landscape. His eyes were bloodshot, his cheeks so mottled with tiny veins they resembled an indecipherable map.
He lived at the top of one of our spicules, which gave him a good outlook on the Martian surface. He described it in eloquent terms.
'It's all so variable. The wispy clouds take strange forms. You could watch them all day. There are fogs, and I have seen tiny snow falls - or maybe frost it was. The desert can be white or grey or almost black, or brown, or even bright orange in the sun.
Then there are many kinds of dust storm, from little dust devils to massive storms like avalanches.
'None of this can we touch. It's like a form of music to me. You teach people to look inward on themselves, Tom Jefferies. Maybe looking outward is good too.
'We need more of a special music. It exists already, part sad, part joyful.
'If I may, I will take you to hear the wonderful Beza this evening.'
Guenz Kanli was enthusiastic to a remarkable degree, which was perhaps what commended him to me in the first place. I dreaded that a mood of irreversible depression would descend on us if the ships did not soon return.
That evening, we went to hear Beza play.
I was seized with Guenz's idea, although I never entirely saw the connection, as he did, between Beza's gipsy music and the Martian landscape.
There was always music playing somewhere in the domes - classical, jazz, popular, or something in between. But, from that evening on, one of our favourite musicians was Beza, an old Romanian gypsy. I persuaded the leading YEAs to listen - Kissorian, May Porter, Suung Saybin, and others. They were taken by it, and from then on Beza was in fashion.
Beza had been elected as DOP - rather against his wish, we gathered - by a remote community in the Transylvanian highlands.
To see Beza during the day, sitting miserable and round-shouldered at the Mars Bar or a cafe table, wearing his floppy off-white tunic, you would wonder what such a poor old fellow was doing on Mars. But when he took up his violin and began to play - bashavav, to play the fiddle - his real stature became apparent.
His dark eyes gleamed through his lank grey hair, his stance was that of a youngster, and the music he played - well, I can only say that it was magic, and so compelling that men ceased their conversation with women to listen. Guenz sometimes took up his fiddle too and played counterpoint.
With the fiddle at his chin and his bow dancing, Beza could play all night. His music was drawn from a deep well of the past, like wine flowing from centuries of slavery and wandering, rising from the pit of the brain, from the fibres of the body. These tunes were what is meant when music is said to be the first of all human arts.
A time dawned when Guenz's theory that this was the true music of Mars became real to me. I wondered how it had come into being before Mars had ever been thought of as a place for habitation.
After I had listened to Beza I would lie in bed, wide awake, trying to recreate his music in my head. It always eluded me. A slow sad lassu, with its notes long drawn out, would be followed by a sprightly friss, light and airy as a stroll along an avenue, which then broke into the wild exhilaration of the czardas. Then, quite suddenly, sorrow again, driving into the heart.
I must admit I learned these foreign terms from Guenz, or from Beza himself. But Beza was a silent man. His fiddle spoke for him.
Beza's music was so popular that it became subject to plagiarism. In a small classical quintet was an ambitious Nigerian, Dayo Obantuji. He played the violin adequately, and the quintet was a success, perhaps because Dayo was something of a show-off. He liked to leap to his feet to play solos and generally appear energetic.
The quintet became less popular while Beza's music was still the rage.
Dayo was also a composer. He introduced a piece, a rather elegant sonata in B flat major, which he christened 'The Musician'.
After 'The Musician' had been played several times, Guenz became suspicious. He made a public denunciation of the fact that much of the sonata, transposed into another key and with altered tempo, was based on a piece that Beza played.
Dayo strongly denied the accusation.
When Beza was brought into an improvised court as a witness in this case of plagarism, he would only laugh and say, 'Let the boy take this theme. It is not mine. It hangs in the air. Let him play with it - he can only make it worse.'
There the matter was dropped. But 'The Musician' was not played again.
Instead Dayo came to me and complained that he was the victim of racism. Why had this unfair charge been brought, if not because he was black? I pointed out that although Beza was himself of a minority - indeed a minority of one - he was almost the most popular man in Mars City. I said I felt strongly that racism had no place on the planet. We were all Martians now. Dayo must be mistaken.
Angrily, Dayo asserted that I was denying what was obvious. He had been disgraced by the accusation. His name had not been properly cleared. He was the victim of injustice.
A long argument ensued. Finally Guenz was brought in. He also denied prejudice. He had found an echo of Beza's music in Dayo's piece. It was hardly surprising, but there it wa
s. However, he had been convinced that the similarity was accidental, so powerful was Beza's influence. He was content to believe that Dayo's name had been cleared. And he apologised graciously, if rather playfully, for having made the charge in the first place.
Dayo again asserted he had been victimised. He burst into angry tears.
'Oh dear, the blue ball is in the air again,' said Guenz.
Then Dayo changed tack. He admitted that he had stolen the theme from Beza's music, having been unable to get it out of his head.
'I admit it. I'm guilty as hell. You lot are guilty too. Okay, you show no racial prejudice against Beza and the Orientals, but you are prejudiced against us blacks. You secretly don't believe we're good for anything, though you'll never admit it. I'm quite a good musician, but still I'm a black musician, not just a musician. Isn't that the case?
'My compositions were not appreciated. Not until I took that Romanian tune and transcribed it. Didn't Brahms do the same sort of thing? What's wrong with it? I altered it, made it my own, didn't I? But just because I was black, you picked on me.'
'Perhaps the mistake was,' said Guenz, mildly, 'not to label the piece "Romanian Rhapsody" - to acknowledge the borrowing. Then you'd have been praised for your cleverness.'
But Dayo insisted that he would merely have been accused of stealing.
'I meant no harm. I only wished to raise my status. But if you're black you're always in trouble, whichever way you turn.'
He went off in dejection.
Tom and Guenz looked at each other in dismay.
Then Guenz broke into a laugh. 'It's you whites who are to blame for everything, including getting us here,' he said.
'My instinct is to legislate. But what could legislation do in a case like this? How might one word it? Can I ask you, Guenz, do you feel yourself racially discriminated against, as a Central Asian?'
'It has sometimes proved to be an advantage, because it had some slight novelty value. That's worn off. There was a time when people were suspicious of my foreignness, but that is in-built, a survival trait. I was equally suspicious of you whites. Still am, to a degree.'
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