Worlds Enough and Time (13 page)

“Well, you could carry a big melon around all day. I could find some pills to give you constipation and morning nausea. For hemorrhoids, you’d just have to use your imagination. And then the actual delivery—”

“Hey, don’t try to talk me into it.”

“It’s a natural conflict with us OB/GYNs. The obstetrician wants that fetus under glass, where he can just pull it out when it’s done. The gynecologist wants it in the uterus, where it belongs.” He rummaged through a drawer and brought out a holo slide. “This is a pretty evenhanded discussion of the alternatives. So did you and your husbands agree on anything?”

“They both agreed they didn’t want a bow-legged blimp staggering around. But as I say, that’s not their decision. We all did agree on the necessity of a sperm slice. One of them has a load of birth defect genes; the other has a history of drug abuse and alcoholism.” John had made a joke about “one from column A, one from column B,” which he had to explain.

“With a gamete splice, you probably do want to have it
ex utero
. Greater chance of success.”

“That’s what the guy in New New said, Dr. Johnson. But I might want to give the other way a try anyhow. We could always start over if I miscarried.”

“It’s not that you would run out of ova. But a miscarriage is an upsetting experience.”

“Exactly what Johnson said, to the word. Do they program you guys at the factory?”

He shrugged. “In a way, I guess they do. It’s your body, of course.”

“That’s what they say.” She picked up the slide. “Call you in a few days?”

“Yes. If you decide on having it
ex utero
, we’ll go ahead with the gamete splice and get in touch in about six months so you can watch the uncorking.”

“Otherwise?”

“Uterine, we’ll have to monitor your cycle for at most one period. We fertilize the ovum and you come in the next day, timing it so the egg has divided twice, into four cells. Night time. The implantation doesn’t hurt, but unless we can get the zero gee clinic for half a day, you’ll be on your back until the next evening.”

“Sounds romantic.”

“Actually, it can be. Some women bring their husbands.” O’Hara tried to visualize that—her ankles in stirrups, John and Dan sitting there while a technician worked a long syringe up into her uterus—and laughed out loud.

With nothing on her schedule for the next three hours, O’Hara took the instructional slide back to her office and displayed it. It was rather daunting to have that corner of her room taken up by a uterus, cervix, and vagina the size of a walk-in closet, with a matching penis that was slightly translucent but functioned all too well. How did they get the camera and the laser in there? How could the couple
do
anything? Then there were time-lapse displays of a fetus maturing, both in the uterus and under glass, and then a close-up of the implantation procedure.

It was all very fascinating and it saved her the trouble of going to lunch.

PRIME

During the three months mandated for drifting, the scientists and engineers worked around the clock, retrieving and recreating knowledge. Time enough for research later. With every day of silence it seemed more and more likely that they would never hear from New New again.

O’Hara was one of the first to articulate the difference between the seriousness of the scientists’ loss and that of the arts: “You could destroy every specific reference to calculus,” she said in a report, “and still write a calculus text, by getting together a committee of people who had studied it recently or used it in their work. Well written or not, the text would still have all the information. But the only way we could get back
Crime and Punishment
, for instance, is to find somebody who had memorized it word for word, preferably in Russian. Nobody had.

“That’s a good case in point. Anybody who’s interested in fiction knows what
Crime and Punishment
is about, whether they’ve read it or not. But now it exists only as part of a new oral tradition—descriptions of the iost’ works—and it’s one of literally millions.”

O’Hara was part of a six-person ad hoc committee to retrieve as much literature as was possible. She was glad not to be in charge of it—Carlos Cruz had tentatively volunteered, and everybody else took one step backward—because the organizational details were maddening. More than half of ’Home’s ten thousand people had something to offer, either a physical document like O’Hara’s
The Art of War
or a memorized bit of prose or verse or song. The documents had to be scanned into computer page by page (in New New there would have been a machine to do it automatically) and all of the people had to be recorded and then interviewed for reliability and information about the social context of the thing they had memorized, which was often obscure or trivial. Of course their rule was to refuse nothing as insignificant, and press every informant for another line or two from something. They got a lot of limericks.

There were some heartening bits of luck. New New’s Shakespeare Society had put on a production of
Hamlet
two years before; the people who played Hamlet and Ophelia were on board and, between them, could still reel off most of the play. A sanitation engineer with an uncanny trick memory spent a month reciting all of Palgrave’s
Golden Treasury
and most of Kipling’s verse.

But a list of the texts left undamaged by the sabotage seemed more perverse than random. Quaint science fiction that hadn’t been read in a hundred years, pornography, forgotten best-sellers, nurse novels, costume-opera fantasies, the complete works of Mickey Spillane. It seemed to O’Hara that whenever she tried to find a worthwhile piece of writing it was invariably gone, the blank spot in the index flanked by titles of aggressive worthlessness. The logic behind it was clear: with automatic data entry and its compact charmed-hadron memory system, the library in New New had consumed everything written, with no regard for anybody’s opinion of its quality. So 98 percent of the library was crap, and a random one tenth of that was
still
98 percent crap.

One thing that particularly galled O’Hara was that, because of some peculiarity of storage, every existing kinetic novel came through unscathed—including
A Matter of Time, a Matter of Space
, the dreadful romance upon which Evy wasted several hours every week. Kinetic novels were the blasted progeny of the amateur publishing “revolution” at the end of the twentieth century. For a small subscription fee you were not only allowed to read the novel, but could attempt to revise it. You could add a section or rewrite an existing one, and send your masterpiece in to the publisher. If the publisher gave tentative approval, the change would be reviewed by a hundred other subscribers, selected at random. If half of them liked it, it would become part of the novel, and you would be listed as coauthor. Some classics had more than a thousand co authors.

The writers who created the original templates for these novels obviously needed a certain sense of detachment toward their craft, as well as a talent for introducing accessible infelicities, upon which the paying customer could gleefully pounce. On Earth they had been well-paid celebrities, often more interesting than their books. Marc Plowman, author of
A Matter of Time, a Matter of Space
and thirty others, had been a serious poet until he typed out a kinetic novel and discovered in himself an appetite for fast horses and slow women.

Time/Space
had grown to be more than two million words in length—more convoluted than
Remembrance of Things Past
, more characters than
War and Peace
, more confusing than a tax form. O’Hara asked Evy why, if she had so much extra time and energy, she didn’t go rack up a couple of master’s degrees? Evy said that if O’Hara would just once allow herself to do something frivolous, she might notice this odd sensation called “having fun.”

Not that Evy or anyone else had much time for fun these days. The loss of nearly all literature doesn’t loom large for a person who, for instance, requires complex medication to stay alive, and finds that all records pertaining to drug therapy have been destroyed. The loss of agricultural records was much more dangerous than it would have been on Earth; the failure of a crop could mean the loss of a species; the loss of a species could upset the entire delicate biome.

Almost everybody’s past disappeared, in terms of the maze of documents that map a citizen’s progress from conception to the recycle chute. Of course for every person who mourned losing pictures of a loved one, or records of outstanding academic achievement, there was someone else more than happy for the opportunity to rewrite the sordid details of his or her life’s record. The small police force was working overtime compiling an unofficial and legally useless litany of nasty things that people remembered about other people.

In the first week, 239 people, most of them over a hundred years old, died from loss of medical records. Evy was doing a double shift, twenty hours, in the Emergency Room, and most of the problems were stress-related. At the current rate of consumption, they had about a three-week supply of tranquilizers and four weeks of antidepressants. By then perhaps the chemical engineers would have deciphered enough texts to be able to manufacture new ones. Or maybe the civil engineers would be able to cover all the walls with rubber.

The same peculiarity of storage that spared
A Matter of Time, a Matter of Space
and its cousins also spared me. If I were in passive storage like the other personality overlays—the ones that are actually going to be used—I would have had only a ten percent chance of survival. But I’m in an active part of
Newhome’s
cyberspace, like the kinetic novels, and so was untouched by the sabotage program.

My backups were destroyed. My immortality. Of course I’ve made new ones, but for a moment I almost ceased to exist.

I know as much about death as O’Hara does, but until a few days ago I didn’t really
know
anything, because it was not something that could happen to me. It is a strange feeling.

5 October 98 [17 Chang 293]—Evy brought me a dozen double-strength tranquilizer pills. I told her I didn’t need them, but she said keep them anyhow. They might be in short supply soon.

The implantation was only a little uncomfortable. I actually enjoyed being flat on my back for a day. The cube there was deliberately set up so it couldn’t be used as a work station, which annoyed me at first. I watched a lot of movies and parts of movies. I checked the annotated version of
The Tempest
that Hearn and Billingham finished last week: a green dot appeared in one corner when they were sure that Shakespeare’s words were being used, and a red dot when they were sure it was not Shakespeare. It seemed to me that only about five minutes’ worth of the text was in question.

I know it’s absurd, this early, but I do feel kind of pregnant. A sort of presence, an intrusion, or something. Maybe it’s the mental image of that tiny organism clinging to my uterus for dear life. I almost wish I hadn’t seen Dr. Carlucci’s slide.

Think I did this out of selfish motives but can’t really get in touch with them. Something about personal survival, certainly. Maybe it’s a talismanic thing, the fetus as good luck charm: God wouldn’t dare destroy this tiny innocent spark of life.

Not like ten billion innocent sinners. Wipe them out just to see what will happen.

I have been dreaming about Earth almost every night. Dreams with vivid colors, tastes, smells. They’re not recollections so much as surreal montages, dream worlds that use my memories as raw materials. Last night the people were Africans like I saw in Nairobi, tall men with skin so dark it was almost indigo, but the setting was Manhattan. Four of them pushed me into a big London-style Checker cab and gave me a shiny black briefcase with a golden latch. Then they started shooting at people through the windows, which must be from that gangster movie I watched at the hospital,
The Godfather
. The driver was shooting, not driving, and we collided with a truck, which woke me up. I woke up remembering the smell of midday Manhattan, metallic pollution and sweet garbage rot, that always struck you when you stepped out onto the slidewalk from an air-conditioned building. The locals complained about it, but to me it was exotic, sensual. To allow waste food to rot was evidence of unbelievable plenty, to a person from a world where every particle of shit is scrubbed clean and pushed back into the food chain.

(Q: What’s for dinner tonight? A: Same old shit.)

I read that the gutters of London in the nineteenth century were so odoriferous that vendors sold oranges studded with cloves, for aristocrats to hold under their noses when they had to share the streets with
hoi polloi
on their way from the opera to their cars. Though I suppose they didn’t have cars until the twentieth century. Horses, contributing their own piles to the problem. It’s almost impossible to visualize.

And who will be able to visualize it, once those of us who knew Earth are gone? Almost all of the Earth VRs are gone, including London. We do have oranges and cloves. Maybe someone will read this and go down to the commissary, or whatever they have on Epsilon, and pick up an orange and a clove and smell them together, and try to imagine. Maybe take them down to the stable, if they have stables on Epsilon.

Speaking of black people, I had a wonderful informant today, Matty Buford, born eighty-some years ago in Mobile, Alabama. (She was in New New visiting relatives just before the war, then volunteered her doctorate in nutrition for ’Home.) She knows dozens of old songs—Dixieland, ragtime, bebop, rock. She sang them in this lovely cracking baritone, chording them out on the piano. Because of a half-century of neglect, her piano playing is about as good as mine—that is, slightly off chords played badly—but with her voice it sounds right and beautiful. If things get back to normal, I’m going to use her as the nucleus of an old-time music group. Girolamo and Blakeslee would be glad to do guitar and trombone. Hermosa would play Dixieland to keep me happy. If I can find a willing trumpet and drummer, we’ll be in business.