I reached over and picked up a piece of furniture, one of the foamed-diamond tables. It weighted almost nothing.
“Nanomachinery,” I said. “The molecular still you mentioned. You know, somebody once said that the problem with Venus isn't that the surface is too hot. It's just fine up here where the air's as thin as Earth's air. The problem is, the surface is just too darn far below sea level.”
“But every ton of atmosphere your molecular machines convert to oxygen, you get a quarter-ton of pure carbon. And the atmosphere is a thousand tons per square meter.”
I turned to Carlos Fernando, who still hadn't managed to say anything. His silence was as damning as any confession. “Your machines turn that carbon into diamond fibers, and build upward from the surface. You're going to build a new surface, aren't you—a completely artificial surface. A platform up to the sweet spot, fifty kilometers above the old rock surface. And the air there will be breathable.”
At last Carlos found his voice. “Yeah,” he said. “Dad came up with the machines, but the idea of using them to build a shell around the whole planet—that idea was mine. It's all mine. It's pretty smart, isn't it? Don't you think it's smart?”
“You can't own the sky,” I said, “but you can own the land, can't you? You will have built the land. And all the cities are going to crash. There won't be any dissident cities, because there won't be any cities. You'll own it all. Everybody will have to come to you.”
“Yeah,” Carlos said. He was smiling now, a big goofy grin. “Sweet, isn't it?” He must have seen my expression, because he said, “Hey, come on. It's not like they were contributing. Those dissident cities are full of nothing but malcontents and pirates.”
Leah's eyes were wide. He turned to her and said, “Hey, why shouldn't I? Give me one reason. They shouldn't even be here. It was all my ancestor's idea, the floating city, and they shoved in. They stole his idea, so now I'm going to shut them down. It'll be better my way.”
He turned back to me. “Okay, look. You figured out my plan. That's fine, that's great, no problem, okay? You're smarter than I thought you were, I admit it. Now, just, I need you to promise not to tell anybody, okay?”
I shook my head.
“Oh, go away,” he said. He turned back to Leah. “Doctor Hamakawa,” he said. He got down on one knee, and, staring at the ground, said, “I want you to marry me. Please?”
Leah shook her head, but he was staring at the ground, and couldn't see her. “I'm sorry, Carlos,” she said. “I'm sorry.”
He was just a kid, in a room surrounded by his toys, trying to talk the adults into seeing things the way he wanted to see them. He finally looked up, his eyes filling with tears. “Please,” he said. “I want you to. I'll give you anything. I'll give you whatever you want. You can have everything I own, all of it, the whole planet, everything.”
“I'm sorry,” Leah repeated. “I'm sorry.”
He reached out and picked up something off the floor—a model of a spaceship—and looked at it, pretending to be suddenly interested in it. Then he put it carefully down on a table, picked up another one, and stood up, not looking at us. He sniffled, and wiped his eyes with the back of his hand—apparently forgetting he had the ship model in it—trying to do it casually, as if we wouldn't have noticed that he had been crying.
“Ok,” he said. “You can't leave, you know. This guy guessed too much. The plan only works if it's secret, so that the malcontents don't know it's coming, don't prepare for it. You have to stay here. I'll keep you here, I'll—I don't know. Something.”
“No,” I said. “It's dangerous for Leah here. Miranda already tried to hire pirates to shoot her down once, when she was out in the sky kayak. We have to leave.”
Carlos looked up at me, and with sudden sarcasm, said, “Miranda? You're joking. That was me who tipped off the pirates. Me. I thought they'd take you away and keep you. I wish they had.”
And then he turned back to Leah. “Please? You'll be the richest person on Venus. You'll be the richest person in the solar system. I'll give it all to you. You'll be able to do anything you want.”
“I'm sorry,” Leah repeated. “It's a great offer. But no.”
At the other end of the room, Carlos’ bodyguards were quietly entering. He apparently had some way to summon them silently. The room was filling with them, and their guns were drawn, but not yet pointed.
I backed toward the window, and Leah came with me.
The city had rotated a little, and sunlight was now slanting in through the window. I put my sun goggles on.
“Do you trust me?” I said quietly.
“Of course,” Leah said. “I always have.”
“Come here.”
LINK: READY blinked in the corner of my field of view.
I reached up, casually, and tapped on the side of the left lens. CQ MANTA, I tapped. CQ.
I put my other hand behind me and, hoping I could disguise what I was doing as long as I could, I pushed on the pane, feeling it flex out.
HERE, was the reply.
Push. Push. It was a matter of rhythm. When I found the resonant frequency of the pane, it felt right, it built up, like oscillating a rocking chair, like sex.
I reached out my left hand to hold Leah's hand, and pumped harder on the glass with my right. I was putting my weight into it now, and the panel was bowing visibly with my motion. The window was making a noise now, an infrasonic thrum too deep to hear, but you could feel it. On each swing the pane of the window bowed further outward.
“What are you doing?” Carlos shouted. “Are you crazy?”
The bottom bowed out, and the edge of the pane separated from its frame.
There was a smell of acid and sulfur. The bodyguards ran toward us, but—as I'd hoped—they were hesitant to use their guns, worried that the damaged panel might blow completely out.
The window screeched and jerked, but held, fixed in place by the other joints. The way it was stuck in place left a narrow vertical slit between the window and its frame. I pulled Leah close to me, and shoved myself backwards, against the glass, sliding along against the bowed pane, pushing it outward to widen the opening as much as I could.
As I fell, I kissed her lightly on the edge of the neck.
She could have broken my grip, could have torn herself free.
But she didn't.
“Hold your breath and squeeze your eyes shut,” I whispered, as we fell through the opening and into the void, and then with my last breath of air, I said, “I love you.”
She said nothing in return. She was always practical, and knew enough not to try to talk when her next breath would be acid. “I love you too,” I imagined her saying.
With my free hand, I tapped, MANTA
NEED PICK-UP. FAST.
And we fell.
“It wasn't about sex at all,” I said. “That's what I failed to understand.” We were in the manta, covered with slime, but basically unhurt. The pirates had accomplished their miracle, snatched us out of midair. We had information they needed; and in exchange, they would give us a ride off the planet, back where we belonged, back to the cool and the dark and the emptiness between planets. “It was all about finance. Keeping control of assets.”
“Sure it's about sex,” Leah said. “Don't fool yourself. We're humans. It's always about sex. Always. You think that's not a temptation? Molding a kid into just exactly what you want? Of course it's sex. Sex and control. Money? That's just the excuse they tell themselves.”
“But you weren't tempted,” I said.
She looked at me long and hard. “Of course I was.” She sighed, and her expression was once again distant, unreadable. “More than you'll ever know.”
ABOUT THE AUTHOR
Geoffrey A. Landis's first story, “Elemental,” appeared while he was a graduate student in physics. Since then he finished his PhD and went off to work at NASA John Glenn Research Center in Ohio, but he's still, off and on, writing science fiction. He has published eighty-four sho
rt stories, one novel (Mars Crossing), a collection of short stories (Impact Parameter, and Other Quantum Fictions), and a book of poetry (Iron Angels). In the process he has accumulated two Hugo awards and a Nebula.
AUTHOR'S INTRODUCTION
A lot of people think small towns in rural America are either charming and quaint, like in a Norman Rockwell painting, or backward and scary, like in a Shirley Jackson story. Both depictions can be true, of course, but despite the smallness of rural America you'll find a wider range of people living there than this. I grew up on a small farm in Ohio, grew out of it and into the wider world beyond it, and found not only that much of what I expected of the world was different from what I'd been told, but also that much of what people who grew up in cities and suburbs were told to expect of someone who grew up on a small farm in Ohio like me was different from what they actually encountered. So when I wrote “Map of Seventeen” I wanted to write about a rural Midwestern family struggling with a conflict between the expectations of their norms and those of the cosmopolitan world outside their boundaries. And I wanted to write about how people we perceive to be beasts or monsters in the world because of their differences from us are really beautiful if we can look at them in the right way.
Everyone has secrets. Even me. We carry them with us like contraband, always swaddled in some sort of camouflage we've concocted to hide the parts of ourselves the rest of the world is better off not knowing. I'd write what I'm thinking in a diary if I could believe others would stay out of those pages, but in a house like this there's no such thing as privacy. If you're going to keep secrets, you have to learn to write them down inside your own heart. And then be sure not to give that away to anyone either. At least not to just anyone at all.
Which is what bothers me about him, the guy my brother is apparently going to marry. Talk about secrets. Off Tommy goes to New York City for college, begging my parents to help him with money for four straight years, then after graduating at the top of his class—in studio art, of all things (not even a degree that will get him a job to help pay off the loans our parents took out for his education)—he comes home to tell us he's gay, and before we can say anything, good or bad, runs off again and won't return our calls. And when he did start talking to Mom and Dad again, it was just short phone conversations and emails, asking for help, for more money.
Five years of off and on silence and here he is, bringing home some guy named Tristan who plays the piano better than my mother and has never seen a cow except on TV. We're supposed to treat this casually and not bring up the fact that he ran away without letting us say anything at all four years ago, and to try not to embarrass him. That's Tommy Terlecki, my big brother, the gay surrealist Americana artist who got semi-famous not for the magical creatures and visions he paints, but for his horrifically exaggerated family portraits of us dressed up in ridiculous roles: American Gothic, dad holding a pitchfork, mom presenting her knitting needles and a ball of yarn to the viewer as if she's coaxing you to give them a try, me with my arms folded under my breasts, my face angry within the frame of my bonnet, scowling at Tommy, who's sitting on the ground beside my legs in the portrait, pulling off the Amish-like clothes. What I don't like about these paintings is that he's lied about us in them. The Tommy in the portrait is constrained by his family's way of life, but it's Tommy who's put us in those clothes to begin with. They're how he sees us, not the way we are, but he gets to dramatize a conflict with us in the paintings anyway, even though it's a conflict he himself has imagined.
Still, I could be practical and say the American Gothic series made Tommy's name, which is more than I can say for the new stuff he's working on: The Sons of Melusine. They're like his paintings of magical creatures, which the critic who picked his work out of his first group show found too precious in comparison to the “promise of the self-aware, absurdist family portraits this precocious young man from the wilderness of Ohio has also created.” Thank you, Google, for keeping me informed on my brother's activities. The Sons of Melusine are all bare-chested men with curvy muscles who have serpentine tails and faces like Tristan's, all of them extremely attractive and extremely in pain: out of water mostly, gasping for air in the back alleys of cities, parched and bleeding on beaches, strung on fishermen's line, the hook caught in the flesh of a cheek. A new Christ, Tommy described them when he showed them to us, and Mom and Dad said, “Hmm, I see.”
He wants to hang an American Gothic in the living room, he told us, after we'd been sitting around talking for a while, all of us together for the first time in years, his boyfriend Tristan smiling politely as we tried to catch up with Tommy's doings while trying to be polite and ask Tristan about himself as well. “My life is terribly boring, I'm afraid,” Tristan said when I asked what he does in the city. “My family's well off, you see, so what I do is mostly whatever seems like fun at any particular moment.”
Well off. Terribly boring. Whatever seems like fun at any particular moment. I couldn't believe my brother was dating this guy, let alone planning to marry him. This is Tommy, I reminded myself, and right then was when he said, “If it's okay with you, Mom and Dad, I'd like to hang one of the American Gothic paintings in here. Seeing how Tristan and I will be staying with you for a while, it'd be nice to add some touches of our own.”
Tommy smiled. Tristan smiled and gave Mom a little shrug of his shoulders. I glowered at them from across the room, arms folded across my chest on purpose. Tommy noticed and, with a concerned face, asked me if something was wrong. “Just letting life imitate art,” I told him, but he only kept on looking puzzled. Faker, I thought. He knows exactly what I mean.
Halfway through that first evening, I realized this was how it was going to be as long as Tommy and Tristan were with us, while they waited for their own house to be built next to Mom and Dad's: Tommy conducting us all like the head of an orchestra, waving his magic wand. He had Mom and Tristan sit on the piano bench together and tap out some “Heart and Soul”. He sang along behind them for a moment, before looking over his shoulder and waving Dad over to join in. When he tried to pull me in with that charming squinty-eyed devil grin that always gets anyone—our parents, teachers, the local police officers who used to catch him speeding down back roads—to do his bidding, I shook my head, said nothing, and left the room. “Meg?” he said behind me. Then the piano stopped and I could hear them whispering, wondering what had set me off this time.
I'm not known for being easy to live with. Between Tommy's flare for making people live life like a painting when he's around, and my stubborn, immovable will, I'm sure our parents must have thought at some time or other that their real children had been swapped in the night with changelings. It would explain the way Tommy could make anyone like him, even out in the country, where people don't always think well of gay people. It would explain the creatures he paints that people always look nervous about after viewing them, the half-animal beings that roam the streets of cities and back roads of villages in his first paintings. It would explain how I can look at any math problem or scientific equation my teachers put before me and figure them out without breaking a sweat. And my aforementioned will. My will, this thing that's so strong I sometimes feel like it's another person inside me.
Our mother is a mousy figure here in the Middle of Nowhere, Ohio. The central square is not even really a square but an intersection of two highways where town hall, a general store, beauty salon and Presbyterian church all face each other like lost old women casting glances over the asphalt, hoping one of the others knows where they are and where they're going, for surely why would anyone stop here? My mother works in the library, which used to be a one-room schoolhouse a hundred years ago, where they still use a stamp card to keep track of the books checked out. My father is one of the township trustees and he also runs our farm. We raise beef cattle, Herefords mostly, though a few Hereford and Angus mixes are in our herd, so you sometimes get black cows with polka-dotted white faces. I never liked the mixed calves, I'm not sure why, b
ut Tommy always said they were his favorites. Mutts are always smarter than streamlined gene pools, he said. Me? I always thought they looked like heartbroken mimes with dark, dewy eyes.
From upstairs in my room I could hear the piano start again, this time a classical song. It had to be Tristan. Mom only knows songs like “Heart and Soul” and just about any song in a hymn book. They attend, I don't. Tommy and I gave up church ages ago. I still consider myself a Christian, just not the church-going kind. We're lucky to have parents who asked us why we didn't want to go, instead of forcing us like tyrants. When I told them I didn't feel I was learning what I needed to live in the world there, instead of getting mad, they just nodded and Mom said, “If that's the case, perhaps it's best that you walk your own way for a while, Meg.”
They're so good. That's the problem with my parents. They're so good, it's like they're children or something, innocent and naïve. Definitely not stupid, but way too easy on other people. They never fuss with Tommy. They let him treat them like they're these horrible people who ruined his life and they never say a word. They hug him and calm him down instead, treat him like a child. I don't get it. Tommy's the oldest. Isn't he the one who's supposed to be mature and put together well?
I listened to Tristan's notes drift up through the ceiling from the living room below, and lay on my bed, staring at a tiny speck on the ceiling, a stain or odd flaw in the plaster that has served as my focal point for anger for many years. Since I can remember, whenever I got angry, I'd come up here and lie in this bed and stare at that speck, pouring all of my frustrations into it, as if it were a black hole that could suck up all the bad. I've given that speck so much of my worst self over the years, I'm surprised it hasn't grown darker and wider, big enough to cast a whole person into its depths. When I looked at it now, I found I didn't have as much anger to give it as I'd thought. But no, that wasn't it either. I realized all of my anger was floating around the room instead, buoyed up by the notes of the piano, by Tristan's playing. I thought I could even see those notes shimmer into being for a brief moment, electrified by my frustration. When I blinked, though, the air looked normal again, and Tristan had brought his melody to a close.
Nebula Awards Showcase 2012 Page 8
