“Perhaps it’s someone else,” he suggested uneasily.
“But of course that’s Lutheena,” said Laliene. “I wonder what she’s doing all the way out here by herself.”
“Lutheena is like that,” Denvin pointed out.
“Yes,” Laliene said. “She is, yes.” She rapped on the window. Lutheena turned, and stared gravely, and after a moment burst into that incandescent smile of hers, though her luminous eyes remained mysteriously solemn. Then the traffic light changed, the taxi moved forward, Lutheena was lost in the distance. In a few minutes they were on the bridge, and then passing through the heart of the city, alive in all its awesome afternoon clangor, and then upward, up into the hills, up to the lofty street, green with the tender new growth of this heartbreakingly perfect springtime, where they would all wait out that glorious skein of May days that lay between this moment and the terrible hour of doom’s arrival.
After the straw-filled mattresses and rank smells of the lodges along the way to Canterbury, and the sweltering musty splendors of their whitewashed villas on the crest of Capri, the Montgomery House was almost palatial.
The rooms had a curious stiffness and angularity about them that Thimiroi was already beginning to associate with twentieth-century architecture in general, and of course there was no sweep-damping, no mood insulation, no gravity gradients, none of the little things that one took for granted when one was in one’s own era. All the same, everything seemed comfortable in its way, and with the proper modifications he knew he would have no trouble feeling at home here. The rooms were spacious, the ceilings were high, the windows were clean, no odors invaded from neighboring chambers. There was indoor plumbing: a blessing, after Canterbury. He had a suite of three rooms, furnished in the strange but pleasant late-twentieth-century way that he had seen in museums. There was a box in the main sitting-room that broadcast images in color, flat ones, with no sensory augmentation other than sonics. There were paintings on the wall, maddeningly motionless. The walls themselves were painted—how remarkable!—with some thick substance so porous that he could almost make out its molecular structure if he looked closely.
Laliene’s suite was down the hall from his; Denvin was on a different floor. That struck him as odd. He had assumed they were lovers and would be sharing accommodations. But, he reflected, it was always risky to assume things like that.
Thimiroi spent an hour transforming his rooms into a more familiar and congenial environment. From his suitcase he drew carpeting and draperies and coverlets of his own time, all of them supple with life and magic, to replace the harsh, flat, dead ones that they seemed to prefer here. He pulled out the three little tripod tables of fine, intricately worked Sipulva marquetry that went with him everywhere: he would read at the golden one, sip his euphoriac at the copper-hued one, write his poetry at the one that was woven in scarlet and amber. He hung an esthetikon on the wall opposite the window and set it going, filling the room with warm, throbbing color. He sat a music sphere on the dresser. To provide some variation in psychological tonality he activated a little subsonic that he had carried with him, adjusting it to travel through the entire spectrum of positive moods over a twenty-four hour span, from anticipation through excitation to culmination in imperceptible gradations. Then he stood back, surveying the results, and nodded. That would do for now. The room had been made amiable; the room was civilized now. He could bring out other things later. The suitcase was infinitely capacious. All it was, after all, was a pipeline to his own era. At the far end they would put anything in it that he might requisition.
Now at last he could begin to explore the city.
That evening they were supposed to go to a concert. Denvin had arranged it; Denvin was going to take care of all the cultural events. The legendary young violinist Sandra di Santis was playing, in what would turn out to be her final performance, though of course no one of this era could know that yet. But that was hours away. It was still only early afternoon. He would go out—he would savor the sights, the sounds, the smells of this place—
He felt just a moment of hesitation.
But why? Why? He had wandered by himself, unafraid, through the trash-strewn alleys of medieval Canterbury, though he knew that cut-throats and roisterers lurked everywhere. He had scrambled alone across the steep gullied cliffs of Capri, looking down without fear at the blue rock-rimmed Mediterranean, far below, into which a single misstep could plunge him. What was there to be cautious about here? The noisy cars racing so swiftly through the streets, perhaps. But surely a little caution and common sense would keep him from harm. If Lutheena had been out by herself, why not he? But still—still, that nagging uneasiness—
Thimiroi shrugged and left his room, and made his way down the hall to the elevator, and descended to the lobby.
At every stage of his departure wave upon wave of unsettling strangeness assailed him. The simplest act was a challenge. He had to call upon the resources of his technology implant in order to operate the lock of his room door, to summon the elevator, to tell it to take him to the lobby. But he met each of these minor mysteries in turn with a growing sense of accomplishment. By the time he reached the lobby he was moving boldly and confidently, feeling almost at home in this strange land, this unfamiliar country, that was the past.
The lobby, which Thimiroi had seen only briefly when he had arrived, was a somber, cavernous place, intricately divided into any number of smaller open chambers. He studied, as he walked calmly through it toward the brightness at the far end, the paintings, the furnishings, the things on display. Everything had that odd stiffness of form and flatness of texture that seemed to be the rule in this era: nothing appeared to have any inner life or movement. Was that how they had really liked it to be? Or was this curious deadness merely a function of the limitations of their materials? Probably some of each, Thimiroi decided. These were an artful, sophisticated folk. Of course, he thought, they had not had the advantage of many of our modern materials and devices. All the same, they would not have made everything so drab unless their esthetic saw beauty in the drabness. He would have to examine that possibility more deeply as this month went along, studying everything with an artist’s shrewd and sympathetic eye, not interested in finding fault, only in understanding.
People were standing about here and there in the lobby, mainly in twos and threes, talking quietly. They paid no attention to him. Most of them, he noticed, had fair skin much like his own. A few, Thimiroi saw, were black-skinned like the taxi driver, but others had skin of still another unusual tone, a kind of pale olive or light yellow, and their features too were unusual, very delicate, with an odd tilt to the eyes.
Once again he wondered if this skin-toning might be some sort of cosmetic alteration: but no, no, this time he queried his implant and it told him that in fact in this era there had been several different races of humanity, varying widely in physical appearance.
How lovely, Thimiroi thought. How sad for us that we are all so much alike. Another point for further research: had these black and yellow people, and the other unusual races, been swept away by the great calamity, or was it rather that all mankind had tended toward a uniformity of traits as the centuries went by? Again, perhaps, some of each. Whatever the reason, it was a cause for regret.
He reached the grand doorway that led to the street. A woman said, entering the hotel just as he was leaving it, “How I hate going indoors in weather like this!”
Her companion laughed. “Who doesn’t? Can it last much longer, I wonder?”
Thimiroi stepped past them, into the splendor of the soft golden sunlight.
The air was miraculous: amazingly transparent, clear with a limpidity almost beyond belief, despite all the astonishing impurities that Thimiroi knew were routinely poured into it by the unthinking people of this era. It was as though for the long blessed moment of this one last magnificent May all the ordinary rules of nature had been suspended, and the atmosphere had become invulnerable to harm. Beyond that
sublime zone of clarity rose the blue shield of the sky, pulsingly brilliant; and from its throne high in the distance the sun sent forth a tranquil, steady radiance that was like no sunlight Thimiroi had ever seen. Small wonder that those who had planned the tour had chosen this time and this place to be the epitome of springtime, he thought. There might never have been such beauty before. There might never be again.
He turned to his left and began to walk, hardly knowing or caring where he might be going.
From all sides came powerful sensory signals: the honking of horns, the sharp scent of something cooking nearby, the subtler fragrance of the light breeze. Great gray buildings soared far into the dazzling sky. Billboards and posters blared their messages in twenty colors. The impact was immediate and profound. Thimiroi beheld everything in wonder and joy.
What richness! What complexity!
And yet there was a paradox here. What he took to be complexity in this street scene was really only a studied lack of harmony. As it had in the hotel lobby, a second glance revealed the true essence of this world’s vocabulary of design: a curious rough-hewn plainness, even a severity, that made clear to him how far in the past he actually was. The extraordinary May light seemed to dance along the rooftops, giving the buildings an intricacy of texture they did not in fact possess. These ancient styles were fundamentally simple and harsh, and could all too easily be taken to be primitive and crude. In Thimiroi’s own era every surface vibrated in at least half a dozen different ways, throbbing and rippling and pulsating and shimmering and gleaming and quivering. Here everything was flat, stolid, static. The strangeness of that seemed oppressive at first encounter; but now, as he ventured deeper and deeper into this unfamiliar world, Thimiroi came to see the underlying majesty of it. What he had mistaken for deadness was in fact strength. The people of this era were survivors: they had come through monstrous wars, tremendous technological change, immense social upheaval. Those who had outlasted the brutal tests of this taxing century were rugged, hearty, deeply optimistic. Their style of building and decoration showed that plainly. Nothing quivering and shimmery for them—oh, no! Great solid slabs of buildings, constructed out of simple, hard, unadorned materials that looked you straight in the eye—that was the way of things, here in the late twentieth century, in this time of assurance and robust faith in even better things to come.
Of course, Thimiroi thought, there was savage irony in that, considering what actually was to come. For a moment he was swept by deep and shattering compassion that brought him almost to tears. But he forced himself to fight the emotion back. Would Denvin weep for these people? Would Omerie, would Cenbe, would Kadro? The past is a sealed book, Thimiroi told himself forcefully. What has happened has happened. The losses are totaled, the debits are irretrievable. We have come here to experience the joys of jarring contrasts, as Denvin might say, not to cry over spilled milk.
He crossed the street. The next block was one of older-looking single-family houses, each set apart in a little garden plot where bright flowers bloomed and the leaves of the trees were just beginning to unfold under springtime’s first warmth.
There was music coming from an upstairs window three houses from the corner. He paused to listen.
It was simple straightforward stuff, monochromatic in tone. The instrument, he supposed, was the piano, the one that made its sound by the action of little mallets striking strings stretched across a resonating board. The melodic line was both sinuous and stark, carried in the treble with a little commentary in the bass: music a child could play. Perhaps a child was indeed playing. The simplicity of it made him smile. It was quaint stuff, charming but naïve. He began to move onward.
And yet—yet—
Suddenly he felt himself caught and transfixed by a simple, magical turn of phrase that came creeping almost surreptitiously out of the bass line. It held him. Unexpectedly, it touched him. He remained still, unable to go on, listening while the lovely phrase fled, waiting in hope for its return. Yes, there it was again! And as it came and went, it cast startling illumination over the entire musical pattern. He saw its beauty and its artfully hidden depth now, and he grew angry at himself for having responded at first in that patronizing way, that snide, condescending Denvin-like way. Quaint? Naïve? Hardly. Simple, yes: this music achieved its effects with a minimum of means. But what was naïve about that? Was a quartet for strings naïve, because it did not make use of the resources of a full symphony orchestra? There was something about this music—its directness, its freedom—that the composers of his own time might well want to study, might even look upon with a certain degree of envy. For all their colossal technical resources, could the best of them—yes, even Cenbe—manage to equal the quiet force, Thimiroi wondered, of that easy, graceful little tune?
He stood listening until the music rolled to a gentle climax and a pleasant resolution and came to a halt. Its sudden absence brought him up short. He looked up imploringly at the open window. Play it again, he begged silently. Play it again! But there was no more music.
Impulsively he burst into applause, thinking that that might encourage an encore.
A woman’s face appeared at the window. Thimiroi was aware of pale skin, long straight golden hair, warm blue-green eyes. “Very lovely,” he called. “Thank you. Thank you very much.”
She looked at him in apparent surprise, perhaps frowning a little. Then the frown was replaced for a moment by a quick amiable smile of pleasure; and then, just as quickly, she was gone. Thimiroi remained before her house a while longer, still hoping the music would begin again. But there was no more of it.
He returned to the hotel an hour later, dazzled, awed, weary, his mind full of wonders great and small. Just as he entered his suite, a small machine on the table beside the bed set up a curious insistent tinkling sound: the telephone, it was, so his technology implant informed him. He picked up the receiver.
“This is Thimiroi.”
“Back at last.” The voice was Laliene’s. “Was it an interesting walk?”
“One revelation after another. Certainly this year is going to be the high point of our trip.”
Laliene laughed lazily. “Oh, darling Thimiroi, didn’t you say the same thing when we came to Canterbury? And when we had the audience with the emperor on Capri?”
He did not reply.
“Anyway,” she continued. “We’re all going to gather in my suite before we go to the concert. Would you like to come? I’ve brewed a little tea, of course.”
“Of course,” he said. “I’ll be right there.”
She, too, had redone her rooms in the style of their own period. Instead of the ponderous hotel bed she had installed a floater, and in the sitting room now was a set of elegant turquoise slopes mounted around a depth baffle, so that one had the illusion of looking down into a long curving valley of ravishing beauty. Her choice of simso screens was, as usual, superb: wondrous dizzying vistas opened to infinity on every wall. Laliene herself looked sumptuous in a brilliant robe of woven silver mesh and a pair of scarlet gliders.
What surprised him was that no one else was there.
“Oh,” she said lightly, “they’ll all be coming along soon. We can get a head start.”
She selected one of the lovely little cups on the table beside her, and offered it to him. And as he took it from her he felt a sudden transformation of the space between them, an intensification, an amplification. Without warning, Laliene was turning up the psychic voltage.
Her face was flushed, her eyes were glistening. The rich gray of them had deepened almost to purple. There was no mistaking the look. He had seen it many times before: Laliene in her best flirtatious mode, verging on the frankly seductive. Here they were, a man, a woman, well known to one another, together in a hotel room in a strange and distant city, about to enjoy a friendly sip or two of euphoriac tea—well, of course, Laliene could be expected to put on her most inviting manner, if only for the sport of it. But something else was going on here besides mere
playful flirtation, Thimiroi realized. There was an odd eagerness to the set of her jaw, a peculiar quirk in the corners of her mouth. As though she cared, he thought. As though she were serious.
What was this? Was she trying to change the rules of the game?
Deftly she turned a music sphere on without looking away from him. Some barely audible melodikia came stealing like faint azure vapor into the air, and very gradually began to rise and throb. One of Cenbe’s songs, he wondered? No. No, too voluptuous for Cenbe: more like Palivandrin’s work, or Athaea’s. He sipped his euphoriac. The sweet coiling fumes crept sinuously about him. Laliene stood close beside him, making it seem almost as if the music were coming from her and not the sphere. Thimiroi met her languid invitation with a practiced courteous smile, one which acknowledged her beauty, her grace, the intimacy of the moment, the prospect of delights to come, while neither accepting nor rejecting anything that was being proposed.
Of course they could do nothing now. At any moment the others would come trooping in.
But he wondered where this unexpected offer was meant to lead. He could, of course, put down the cup, draw her close: a kiss, a quick caress, an understanding swiftly arrived at, yes. But that did not seem to be quite what she was after, or at least that was not all she was after. And was the offer, he asked himself, all that unexpected? Thimiroi realized abruptly that there was no reason why he should be as surprised by this as he was. As he cast his mind back over the earlier weeks of their journey across time, he came to see that in fact Laliene had been moving steadily toward him since the beginning—in Canterbury, in Capri, a touch of the hand here, a quick private smile there, a quip, a glance. Her defending him so earnestly against Denvin’s snobbery and Denvin’s sarcasm, just after they had arrived here: what was that, if not the groundwork for some subtle treaty that was to be established subsequently between them? But why? Why? Such romance as could ever have existed for Laliene and him had come and gone long, long ago. Now they were merely friends. Perhaps he was mistaking the nature of this transaction. But no…no. There was no mistake.
We Are for the Dark - 1987–90 - The Collected Stories of Robert Silverberg Volume Seven Page 17
