Android Karenina (43 page)

Vronsky, meanwhile, in spite of the complete realization of what he had so long desired, was not perfectly happy. He soon felt that the realization of his desires gave him no more than a grain of sand out of the mountain of happiness he had expected. It showed him the mistake men make in picturing to themselves happiness as the realization of their desires. For a time after joining his life to hers, after unwinding the hot-whip from his thigh and donning civilian dress, he had felt all the delight of freedom in general of which he had known nothing before, and of freedom in his love—and he was content, but not for long. He was soon aware that there was springing up in his heart a desire for desires—
ennui.
He longed for the camaraderie of the battlefield, missed the sparks and the heat and fog of combat, missed the clang of the Exterior door swinging shut behind him, missed the weight of a smoker in his hand. Without conscious intention he began to clutch at every passing caprice, taking it for a desire and an object. Sixteen hours of the day must be occupied in some way, since they were living in complete freedom, outside the conditions of social life that filled up time in Petersburg. As for the amusements of bachelor existence, which had provided Vronsky with entertainment on previous extra-atmospheric sojourns, they could not be thought of, since his sole attempt of that sort had led to a sudden attack of depression in Anna, quite out of proportion with the cause—a late game of lunar croquet with bachelor friends.

Relations with the society of the place—foreign and Russian—were equally out of the question owing to the irregularity of their position. The inspection of the various panoramas, of Earth’s blue-green magnificence or the starry sprawl of distant galaxies, had not for Vronsky,
a Russian and a sensible man, the immense significance Englishmen are able to attach to that pursuit.

And just as the hungry stomach eagerly accepts every object it can get, hoping to find nourishment in it, Vronsky quite unconsciously clutched first at politics, then at new books, and then at pictures. He began to understand the semi-mystical art of painting with groznium-based pigments, how the artist could push the little pools of color around the canvas with subtle flicks of the brush, how the individual droplets would attract each other, creating luminous patterns as singular as fingerprints or snowflakes. Vronsky concentrated on these studies; with this technique he began to paint Anna’s portrait in her boots and helmet, and the portrait seemed to him, and to everyone who saw it, extremely successful.

T
HE OLD, NEGLECTED MODULE
they had leased, with its lofty, hard-textile ceilings and off-white, dimly lit passageways, with its slow-sequencing, Earth-scenery monitor frames, its manual door locks and gloomy reception rooms—this base did much, by its very appearance after they had moved into it, to confirm in Vronsky the agreeable illusion that he was not so much a Russian country gentleman, a retired army officer, as an enlightened, bohemian “moon man” and patron of the arts, who had renounced his past, his connections, and his planet for the sake of the woman he loved.

“Here we live, and know nothing of what’s going on,” Vronsky said to Golenishtchev as he came to see him one morning. “Have you seen Mihailov’s picture?” he said, pointing to Lupo’s monitor, where was displayed a communiqué from a Russian friend that he had received that
morning, and pointing to an article on a Russian artist living in the very same colony and just finishing a picture which had long been talked about. “Couldn’t we ask him to paint a portrait of Anna Arkadyevna?” said Vronsky.

“Why mine?” Anna interjected. “After yours I don’t want another portrait. Better have one of Annie” (so she called her baby girl). She glanced with a smile through the glass porthole into the nursery, where the child was giggling delightedly at the clownish tumbling of a I/HurdlyGurdly/2.

“I have met Mihailov, you know,” Golenishtchev said. “But he’s a queer fish. He did not migrate to the moon entirely of his own volition, if my meaning is quite clear.” It was not, of course, and in answer to Vronsky’s curious expression Golenishtchev leaned forward, in exactly that conspiratorial fashion with which people in possession of secrets signal that they wish to be pressured into revealing them.

“I understand that many years ago he professed rather an extreme view on the Robot Question. Took the line that the extent of evolution of any given machine should be up to its owner, and its owner alone.”

“Yes, well,” Anna began, gesturing proudly to her own beloved-companion, preparing to defend that position, or at least argue its merits.

“But this Mihailov took the idea to a rather bizarre conclusion, publishing his opinion that robots were, in many ways, the equals of human beings—and that junkering a Class III was therefore tantamount to murdering a human being.” Vronsky raised his eyebrows, and Golenishtchev went on. “It is even said that he put these rather extreme opinions into practice, and . . . ,” Golenishtchev made a pretense of blushing before continuing, “and fell in love with his wife’s Class III, and would have married it. The point is, one way or another he found it necessary to decamp for the charming lunar colony where now we find him.”

Golenishtchev settled happily back into his chair, evidently quite pleased with his own skills as raconteur, while Anna sat silent, absently stroking Android Karenina’s hand. Were Mihailov’s views so wrong? Was
not her beloved-companion twice the woman—twice the person—twice the . . . whatever one might call it—than most of the people Anna had known?

“I tell you what,” said Anna finally. “Let’s go and see him!”

T
HE ARTIST MIHAILOV
was, as always, at work when the greeting signal of Count Vronsky and Golenishtchev sounded in his studio. He walked rapidly to the door, and in spite of his annoyance at the interruption, he was struck by the soft light that Android Karenina was shedding on Anna’s figure as she stood in the shade of the entrance listening to Golenishtchev, who was eagerly telling her something, while she evidently wanted to look round at the artist and his work.

They spoke but Mihailov only noticed every fifth word; he was examining in his mind’s eye that subtle nimbus of luminescence the robot imparted to her mistress. So he readily agreed to paint a portrait of Anna, and on the day he fixed, he came and began the work.

In another man’s house, and especially in Vronsky’s module, Mihailov was quite a different man from what he was in his studio. He behaved with hostile courtesy, as though he were afraid of coming closer to people he did not respect. He called Vronsky “Your Excellency,” and notwithstanding Anna’s and Vronsky’s invitations, he would never stay for dinner, nor come except for the sittings. Anna was even more friendly to him than to other people, and was very grateful for her portrait. Vronsky was more than cordial with him, and was obviously interested to know the artist’s opinion of his picture. Mihailov met Vronsky’s talk about his painting with stubborn silence, and he was as stubbornly silent when he was shown Vronsky’s picture. He was unmistakably bored by
Golenishtchev’s transparent attempts to goad him into conversation on the Robot Question, and he did not attempt to oppose him.

From the fifth sitting the portrait impressed everyone, especially Vronsky, not only by its resemblance, but by its characteristic beauty. It was strange how Mihailov could have discovered just her characteristic beauty. “One needs to know and love her as I have loved her to discover the very sweetest expression of her soul,” Vronsky murmured to Lupo, who rumbled softly in his lap; though in truth it was only from this portrait that he had himself learned this sweetest expression of her soul. But the expression was so true that he, and others too, fancied they had long known it.

To Anna, what was remarkable was Mihailov’s decision to include Android Karenina in the painting, a decision not in keeping with traditions of portraiture, but one which seemed to her entirely fitting and appropriate.

*   *   *

On the sixth day of the sitting Golenishtchev entered with his usual bluster. As he pulled off his thick, dust-caked moon boots, he reported on a communiqué he had just received from a friend in Petersburg, who spoke of a rather bizarre new dictate emerging from the Ministry: all Class III robots, it seemed, were being gathered up by the government for some sort of mandatory circuitry adjustment.

Golenishtchev passed easily on to other subjects, nattering next about a funny little Moonie he had lost in the pit earlier today, and the various difficulties attending to Extractor maintenance in low gravity. But Mihailov and Anna Karenina—that is, the painter and the painted—seemed deeply struck by the pitman’s information. Mihailov laid down his brush and looked off through the big bay window of the module.

As for Anna, she instantly knew who was behind this enigmatic new Ministry program. “Might it be,” she murmured to Android Karenina, rising from her model’s stool, stretching, and walking arm and arm with
her beloved-companion through the atelier, “that in my absence, whatever strange force lives inside my husband has gathered strength? Has my departure, my immersion in the freedom that the moon has given me, doomed my fellow Russians, and their beloved-companions, to suffer in my stead?”

And her heart was rent by feelings of guilt and frustration.

Vronsky did not share these concerns; he was instead agonized by his dawning understanding of his own failure to master the technique of groznium-pigment painting, and his realization that he never would. “I have been struggling on for ever so long without doing anything,” he said of his own portrait of her, “and he just looked and painted it. That’s where technique comes in.”

“That will come,” was the consoling reassurance given him by Golenishtchev, in whose view Vronsky had both talent and what was most important, culture, giving him a wider outlook on art. Golenishtchev’s faith in Vronsky’s talent was propped up by his need of Vronsky’s sympathy and approval for his own hope of finding groznium on the moon, and he felt that the praise and support must be mutual. “Isn’t that correct, M. Mihailov?”

But Mihailov remained silent. He walked, slowly, still clutching his brush, away from that big bay window and toward the airlock. “Tell me, sir,” he said to Golenishtchev, propping himself up against the reinforced steel of the door. “This Project; they intend to ‘gather up’ all Class Ills for what purpose?”

“It is not said—only that we must put our trust in the Ministry.”

“Ah,” he said. “I suppose we must do that. That I suppose we must do.”

A long stillness then filled the atelier: Golenishtchev looked toward Vronsky and Anna with raised eyebrows and a wry expression, impressing upon them his enjoyment of the idiosyncratic behavior of the great artiste. Vronsky continued his contemplation of the master’s portrait of Anna, while Anna herself stood with her hand in the gentle end-effector
of Android Karenina, gazing down thoughtfully toward that big blue-green Class I toy, the Earth.

The airlock had already swung closed behind Mihailov, decisively clanking shut before anyone realized that he had exited—and had not taken with him his oxygen tank, nor even his helmet.

They watched with eyes wide with amazement, as the old painter tromped in his moon boots across the dusty lunar landscape and, showing no sign of the desperate constriction of his lungs that was surely taking place, blew a single, sad kiss in the direction of Earth; and then lay down heavily on the lunar dust, and ran out of breath.

*   *   *

After the strange death of Mihailov, Anna and Vronsky’s rented module suddenly seemed so obtrusively old and dirty: the periodic small malfunctioning of their Class I door locks, the streaks in the glass, the dried-out putty on the seals became so disagreeably obvious, as did the everlasting sameness of Golenishtchev, forever talking of the great day when he would strike his long-dreamed-of lunar ore. They had to make some change, and they resolved to return to Russia. In Petersburg Vronsky intended to arrange a partition of land with his brother, while Anna intended, somehow, to see her son.

Vronsky and Anna soon were climbing inside the ballistic canister and hurtling back toward the planet from whence they had come.

L
EVIN HAD BEEN MARRIED
three months. He was happy, but not at all in the way he had expected to be. At every step he found
his former dreams disappointed, and new, unexpected surprises of happiness. He was happy; but on entering upon family life he saw at every step that it was utterly different from what he had imagined. At every step he experienced what a man would experience who, after admiring the smooth, happy course of a meteor around a planetoid, should be given an opportunity to climb aboard that meteor. He saw that it was not all sitting still, floating smoothly; that one had to think too, not for an instant forgetting where one was floating; and that there was atmospheric pressure around one, and that one must endeavor somehow to steer one’s meteor; and that his unaccustomed hands would be sore; and that it was only to look at it that was easy; but that doing it, though very delightful, was very difficult, and very likely fatal.

As a bachelor, when he had watched other people’s married life, seen the petty cares, the squabbles, the jealousy, he had only smiled contemptuously in his heart. In his future married life there could be, he was convinced, nothing of that sort; even the external forms, indeed, he fancied, must be utterly unlike the life of others in everything. And all of a sudden, instead of his life with his wife being made on an individual pattern, it was, on the contrary, entirely made up of the pettiest details, which he had so despised before, but which now, by no will of his own, had gained an extraordinary importance that could not be denied. Although Levin believed himself to have the most exact conceptions of domestic life, unconsciously, like all men, he pictured domestic life as the happiest enjoyment of love, with nothing to hinder and no petty cares to distract. He ought, as he conceived the position, to do his work, and to find repose from it in the happiness of love. She ought to be beloved, and nothing more. But, like all men, he forgot that she too would want work. And he was surprised that she, his poetic, exquisite Kitty, could not merely busy herself about the Class Is and the furniture, about mattresses for visitors, about a tray, about the II/Cook/6 and the dinner, and so on.