Supermen: Tales of the Posthuman Future (27 page)

Myself, constructing the simulator
. Designing those defense structures gave me the perspective needed to recognize the gestalt.

I concede his greater ingenuity. It bodes well for his endeavor. Pragmatism avails a savior far more than aestheticism.

I wonder what he intends to do after he's saved the world.

I comprehend the Word, and the means by which it operates, and so I dissolve.

Born in Oklahoma City, Oklahoma, Joe Haldeman took a B.S. degree in physics and astronomy from the University of Maryland, and did postgraduate work in mathematics and computer science. But his plans for a career in science were cut short by the U.S. Army, which sent him to Vietnam in 1968 as a combat engineer. Seriously wounded in action, Haldeman returned home in 1969 and began to write. He sold his first story to
Galaxy
in 1969, and by 1976, he had garnered both the Nebula Award and the Hugo Award for his famous novel
The Forever War,
one of the landmark books of the seventies. He took another Hugo Award in 1977 for his story "Tricentennial," won the Rhysling Award in 1983 for the best science-fiction poem of the year, and won both the Nebula and the Hugo awards in 1991 for the novella version of "The Hemingway Hoax." His story "None So Blind" won the Hugo Award in 1995. His novel
Forever Peace won
the John W. Campbell Memorial Award. His other books include two mainstream novels,
War Year
and
1969,
the SF novels
Mindbridge, All My Sins Remembered, There Is No Darkness
(written with his brother, SF writer Jack C. Haldeman II),
Worlds, Worlds Apart, Worlds Enough and Time, Buying Time, The Hemingway Hoax, Forever Peace,
and
Forever Free,
the collections
Infinite Dreams, Dealing in Futures, Vietnam and Other Alien Worlds,
and
None So Blind,
and, as editor, the anthologies
Study War No More, Cosmic Laughter,
and
Nebula Award Stories Seventeen.
His most recent book is the novel
The Coming.
Haldeman lives part of the year in Boston, where he teaches writing at the Massachusetts Institute of Technology, and the rest of the year in Florida, where he and his wife Gay make their home.

Here's a sly and fascinating little story that examines the personal
cost
of that high-tech competitive edge we'd all like to have… a price that we may all soon have to come up with a way to pay, whether we can afford it or not.

*

It all started when Cletus Jefferson asked himself, "Why aren't all blind people geniuses?" Cletus was only thirteen at the time, but it was a good question, and he would work on it for fourteen more years, and then change the world forever.

Young Jefferson was a polymath, an autodidact, a nerd literally without peer. He had a chemistry set, a microscope, a telescope, and several computers; some of them bought with paper-route money. Most of his income was from education, though: teaching his classmates not to draw to inside straights.

Not even nerds, not even nerds who are poker players nonpareil, not even nerdish poker players who can do differential equations in their heads, are immune to Cupid's darts and the sudden storm of testosterone that will accompany those missiles at the age of thirteen. Cletus knew that he was ugly
and his mother dressed him funny. He was also short and pudgy and could not throw a ball in any direction. None of this bothered him until his ductless glands started cooking up chemicals that weren't in his chemistry set.

So Cletus started combing his hair and wearing clothes that mismatched according to fashion, but he was still short and pudgy and irregular of feature. He was also the youngest person in his school, even though he was a senior— and the only black person there, which was a factor in Virginia in 1994.

Now if love were sensible, if the sexual impulse was ever tempered by logic, you would expect that Cletus, being Cletus, would assess his situation and go off in search of someone homely. But of course he didn't. He just jingled and clanked down through the Pachinko machine of adolescence, being rejected, at first glance, by every Mary and Judy and Jenny and Veronica in Known Space, going from the ravishing to the beautiful to the pretty to the cute to the plain to the "great personality," until the irresistible force of statistics brought him finally into contact with Amy Linderbaum, who could not reject him at first glance because she was blind.

The other kids thought it was more than amusing. Besides being blind, Amy was about twice as tall as Cletus and, to be kind, equally irregular of feature. She was accompanied by a guide dog who looked remarkably like Cletus, short and black and pudgy. Everybody was polite to her because she was blind and rich, but she was a new transfer student and didn't have any actual friends.

So along came Cletus, to whom Cupid had dealt only slings and arrows, and what might otherwise have been merely an opposites-attract sort of romance became an emotional and intellectual union that, in the next century, would power a social tsunami that would irreversibly transform the human condition. But first there was the violin.

Her classmates had sensed that Amy was some kind of nerd herself, as classmates will, but they hadn't figured out what kind yet. She was pretty fast with a computer, but you could chalk that up to being blind and actually needing the damned thing. She wasn't fanatical about it, nor about science or math or history or
Star Trek
or student government, so what the hell kind of nerd was she? It turns out that she was a music nerd, but at the time was too painfully shy to demonstrate it.

All Cletus cared about, initially, was that she lacked those pesky Y-chromosomes and didn't recoil from him: in the Venn diagram of the human race, she was the only member of that particular set. When he found out that she was actually smart as well, having read more books than most of her classmates put together, romance began to smolder in a deep and permanent place. That was even before the violin.

Amy liked it that Cletus didn't play with her dog and was straightforward in his curiosity about what it was like to be blind. She could assess people pretty well from their voices: after one sentence, she knew that he was young, black, shy, nerdly, and not from Virginia. She could tell from his inflection that either he was unattractive or he thought he was. She was six years older than him, and white and twice his size, but otherwise they matched up pretty well, and they started keeping company in a big way.

Among the few things that Cletus did not know anything about was music. That the other kids wasted their time memorizing the words to inane Top 40 songs was proof of intellectual dysfunction if not actual lunacy. Furthermore, his parents had always been fanatical devotees of opera. A universe bounded on one end by puerile mumblings about unrequited love and on the other end by foreigners screaming in agony was not a universe that Cletus desired to explore. Until Amy picked up her violin.

They talked constantly. They sat together at lunch and met between classes. When the weather was good, they sat outside before and after school and talked. Amy asked her chauffeur to please be ten or fifteen minutes late picking her up.

So after about three weeks' worth of the fullness of time, Amy asked Cletus to come over to her house for dinner. He was a little hesitant, knowing that her parents were rich, but he was also curious about that lifestyle and, face it, was smitten enough that he would have walked off a cliff if she asked him nicely. He even used some computer money to buy a nice suit, a symptom that caused his mother to grope for the Valium.

The dinner at first was awkward. Cletus was bewildered by the arsenal of silverware and all the different kinds of food that didn't look or taste like food. But he had known it was going to be a test, and he always did well on tests, even when he had to figure out the rules as he went along.

Amy had told him that her father was a self-made millionaire; his fortune had come from a set of patents in solid-state electronics. Cletus had therefore spent a Saturday at the university library, first searching patents, and then reading selected texts, and he was ready at least for the father. It worked very well. Over soup, the four of them talked about computers. Over the calimari cocktail, Cletus and Mr. Linderbaum had it narrowed down to specific operating systems and partitioning schemata. With the beef Wellington, Cletus and "Call-me-Lindy" were talking quantum electrodynamics; with the salad, they were on an electron cloud somewhere, and by the time the nuts were served, the two nuts at that end of the table were talking in Boolean algebra while Amy and her mother exchanged knowing sighs and hummed snatches of Gilbert and Sullivan.

By the time they retired to the music room for coffee, Lindy liked Cletus very much, and the feeling was mutual, but Cletus didn't know how much he liked Amy,
really
liked her, until she picked up the violin.

It wasn't a Strad— she was promised one if and when she graduated from Julliard— but it had cost more than the Lamborghini in the garage, and she was not only worth it, but equal to it. She picked it up and tuned it quietly while her mother sat down at an electronic keyboard next to the grand piano, set it to "harp," and began the simple arpeggio that a musically sophisticated person would recognize as the introduction to the violin showpiece "Méditation," from Massenet's
Thaïs
.

Cletus had turned a deaf ear to opera for all his short life, so he didn't know the back-story of transformation and transcending love behind this intermezzo, but he did know that his girlfriend had lost her sight at the age of five, and the next year— the year he was born! —was given her first violin.
For thirteen years she had been using it to say what she would not say with her voice, perhaps to see what she could not see with her eyes, and on the deceptively simple romantic matrix that Massenet built to present the beautiful courtesan Thaïs gloriously reborn as the bride of Christ, Amy forgave her godless universe for taking her sight, and praised it for what she was given in return, and she said this in a language that even Cletus could understand. He didn't cry very much, never had, but by the last high, wavering note, he was weeping into his hands, and he knew that if she wanted him, she could have him forever, and oddly enough, considering his age and what eventually happened, he was right.

He would learn to play the violin before he had his first doctorate, and during a lifetime of remarkable amity, they would play together for ten thousand hours, but all of that would come after the big idea. The big idea— "Why aren't all blind people geniuses?" —was planted that very night, but it didn't start to sprout for another week.

Like most thirteen-year-olds, Cletus was fascinated by the human body, his own and others', but his study was more systematic than others' and, atypically, the organ that interested him most was the brain.

The brain isn't very much like a computer, although it doesn't do a bad job, considering that it's built by unskilled labor and programmed more by pure chance than anything else. One thing computers do a lot better than brains, though, is what Cletus and Lindy had been talking about over their little squids in tomato sauce: partitioning.

Think of the computer as a big meadow of green pastureland, instead of a little dark box full of number-clogged things that are expensive to replace, and that pastureland is presided over by a wise old magic shepherd who is not called a macroprogram. The shepherd stands on a hill and looks out over the pastureland, which is full of sheep and goats and cows. They aren't all in one homogeneous mass, of course, since the cows would step on the lambs and kids and the goats would make everybody nervous, leaping and butting, so there are
partitions
of barbed wire that keep all the species separate and happy.

This is a frenetic sort of meadow, though, with cows and goats and sheep coming in and going out all the time, moving at about 3 × 10
meters per second, and if the partitions were all of the same size, it would be a disaster, because sometimes there are no sheep at all, but lots of cows, who would be jammed in there hip to hip and miserable. But the shepherd, being wise, knows ahead of time how much space to allot to the various creatures and, being magic, can move barbed wire quickly without hurting himself or the animals. So each partition winds up marking a comfortable-sized space for each use. Your computer does that, too, but instead of barbed wire you see little rectangles or windows or file folders, depending on your computer's religion.

The brain has its own partitions, in a sense. Cletus knew that certain physical areas of the brain were associated with certain mental abilities, but it wasn't a simple matter of "music appreciation goes over there; long division in that corner." The brain is mushier than that. For instance, there are pretty
well-defined partitions associated with linguistic functions, areas named after French and German brain people. If one of those areas is destroyed, by stroke or bullet or flung frying pan, the stricken person may lose the ability— reading or speaking or writing coherently— associated with the lost area.