Текст книги "Architects of emortality"

Автор книги: Brian Stableford

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“What is incontrovertible,” the geneticist said in a more level tone, “is that Jafri Biasiolo, alias Rappaccini, alias Gustave Moreau, devoted his life to the design and manufacture of funeral wreaths—and whatever else this series of murders may be, it is Rappaccini’s own funeral wreath. All its gaudy display, including the invitation sent to me, is explicable in those terms, and only in those terms. Rappaccini has supplied materials to so many funerals that he must have decided a long time ago that he could never be satisfied by any mere parade through the streets of a city, however grandiose. He wanted a funeral to outdo every other funeral in the history of humankind—and we are part and parcel of its ceremony. These condolence cards are not addressed to his victims—they are leaves from his own Book of Lamentations, and must be understood in that light.” “I can’t believe it,” said Michael Lowenthal, shaking his head. “It’s too ridiculous.” Wilde’s remark about refraining from jumping to silly conclusions had obviously needled him.

“Maybe it is ridiculous,” said Charlotte, “but it’s no more so than the crimes themselves. Go on, Dr. Wilde—Oscar.” Wilde beamed, welcoming her belated concession. Then he relaxed back into his seat and half closed his eyes, as if preparing himself to deliver a long speech—which, Charlotte realized, was exactly what he intended to do.

“It may seem unduly narcissistic,” Oscar Wilde began, “but I wonder whether the most fruitful approach to the puzzle might be to unpack the question of why Rappaccini chose me to be its expert witness. The Herod sim informed us that it was because I was better placed than anyone else to understand the world’s decadence. The quotations reproduced on the condolence cards are taken from works identified in their own day as ‘decadent,’ but it is not ancient history per se that is the focus of attention here. It’s the repetition of history: the resonance implied by Jafri Biasiolo’s performances as Rappaccini and Gustave Moreau, and my own performance as my ancient namesake.

“According to the tape which you kindly showed me, Gabriel King described me as a ‘posturing ape,’ and you probably took some slight pleasure in the implied insult. The description is, however, perfectly accurate, provided one assumes that ape is a derivative of a verb meaning to imitate rather than a reference to an extinct animal. I am, indeed, an imitation; my whole existence is a pose—but the original Oscar Wilde was a poseur himself, and ironic echoes of my performance extend through my own work and through his. Once, when someone complained that my namesake had criticized a fellow artist for stealing an idea when he was an inveterate thief himself, he observed that he could never look upon a gorgeous flower with four petals without wanting to produce a counterpart with five, but could not see the point of a lesser artist laboring to produce one with only three. You will understand why that analogy has always been particularly dear to me—but there are other echoes more vital still.

“In the first Oscar Wilde’s excellent novel, The Picture of Dorian Gray, the eponymous antihero makes a diabolical bargain, exchanging fates with a portrait of himself, with the consequence that the image in the picture is marred by all the afflictions of age and dissolution while the real Dorian remains perpetually young. In the nineteenth century, of course, the story of Dorian Gray was the stuff of which dreams were made: the purest of fantasies. We live in a different era now, but you and I, dear Charlotte, have been caught on the cusp between two ages. We can indeed renew our youth—once, twice, or thrice—but in the end, the sin of aging will catch up with us. It still remains to be proven whether Michael’s New Human Race is really capable of enduring forever, but the glorious vision is in place again: the ultimate hope is there to be treasured.

“Like me, Charlotte, you will doubdess do what you may to make the best of the life you have. I am living proof of the fact that even our kind may set aside much of the burden with which ugliness, disease, and the aging process afflicted us in days of old. We are corruptible, but we also have the means to set aside corruption, to reassert in spite of all the ravages of time and malady the image which we would like to have of ourselves. I daresay that you will play your part bravely and make the best of what is, after all, a golden opportunity for achievement and satisfaction. Perhaps, even as you watch the progress of such contemporaries as Michael, you will never experience a single moment’s anguish at the thought that you are a mere betwixt-and-between, becalmed halfway between mortality and authentic emortality. Perhaps, though, you will not find it impossible to find a grain of sympathy for Rappaccini’s obsession with death and its commemoration. In designing a funeral for himself that would surpass all the funerals of the past in its ludicrous self-indulgence and mawkish extravagance, he must also have had it in mind that there would soon come a time when funerals would lose their aura of inevitability, occurring only in the wake of rare and unexpected accidents.” “But I still don’t see—,” Charlotte began.

Oscar Wilde silenced her with an imperious wave of his delicate hand. “Please don’t interrupt,” he said. “I realize that you may well find this boring as well as incomprehensible, but I am trying hard to arrange my own thoughts in order, and I hope you might allow me to bore and confuse you a little while longer.

Even if you fail, in the end, to make sense of what I have to say, you will be no worse off than you are now.” “I wasn’t—,” Charlotte protested, but stopped as he pursed his perfect lips. She felt a perverse pulse of lust as his gleaming eyes bade her be silent.

“The nineteenth-century writers who were called decadent,” Wilde continued, “saw themselves as products of a culture in terminal decay. They likened their own era to the days of the declining Roman Empire, when the great city’s grandeur gradually ebbed away, and its possessions were overrun by barbarians. According to this way of thinking, the aristocracy of all-conquering Rome had grown effete and self-indulgent, so utterly enervated by luxury that its members could find stimulation only in orgiastic excess. By the same token, the decadents asserted, the ruling classes of nineteenth-century Europe had been corrupted by comfort, to the extent that anyone cursed with the abnormal sensitivity of an artistic temperament must bear the yoke of a terrible ennui, which could only be opposed by sensual and imaginative excess.

“An entire way of life, according to the decadents, was damned and doomed to collapse; all that remained for men of genius to do was mock the meaninglessness of conformity and enjoy the self-destructive exultation of moral and artistic defiance. Many of them died of excess, poisoned by absinthe and ether, rotted in body and in mind by syphilis—but they were, of course, absolutely right. Theirs was a decadent culture, absurdly distracted by its luxuries and vanities, unwittingly lurching toward its historical terminus. The next two hundred years saw wars, famines, and catastrophes on an unprecedented scale, in which billions of people died, although the hectic increase in human population was not halted until the descent of the final plague: the plague of sterility. The comforts of the nineteenth century—hygiene, medicine, international trade—were the direct progenitors of the feverish ecocatastrophe whose crisis was the Crash.

Throughout the twentieth century the petty deceivers of politics maintained their ruthless grip upon the fettered imagination of the vast majority of humankind, ensuring that few men had the vision to understand what was happening, and even fewer had the capacity to care. Addicted to their luxuries as they were, even terror could not give them adequate foresight. Blindly, stupidly, madly, they laid the world to waste and used all the good intentions of their marvelous technology to pave themselves a road to hell.

“What a waste it all was!” Wilde paused again, but only for effect. This time, it wasn’t Charlotte who made haste to interrupt him. “You can’t compare the present era to the one that preceded the Crash, Dr. Wilde,” said Michael Lowenthal, the agent of the MegaMall. “There’s no prospect whatsoever of another ecocatastrophe. Everything is under control now.” “Exactly so,” said Wilde. “The old world ended with a bang and a whimper. Ours will not. Ours is far more likely to end in Hardinist stasis, in perfect order, with everything under control.” “That’s not what I meant, and you know it!” Lowenthal protested. “The masters of the MegaMall like change. They need change. Change is what keeps the marketplace healthy. There has to be demand. There has to be innovation. There has to be growth. There has to be progress. But…” “But it all has to be managed” Oscar Wilde finished for him. “It has to be measured and orderly. Change is good but chaos is evil. Growth is good but excess must be stifled. There are still those among us who cannot agree. Few of them are authentic revolutionaries—even the most extreme Green Zealots and Decivilizers, like the Eliminators and Robot Assassins before them, probably ought to be reckoned clowns and jesters rather than serious anarchists—but they still desire to make their dissenting voices heard. I think you will agree that whatever the outcome of this comedy may be, Rappaccini will certainly succeed in being heard. When dawn breaks, five men will be dead and a sixth will be under sentence of execution. A vast swarm of helicopters and hoverflies will be headed for Walter Czastka’s island, avid to watch the denouement of the drama at close quarters. Can Walter be saved? Can the woman be apprehended? What has been done, and how, and why? Above all else: why? “Perhaps, when all is said and done, the question is the answer; perhaps the sole purpose of every move in this remarkable play is to force us to recognize that it is, indeed, play. At any rate, my friends, we are no longer an audience of three: tomorrow, we will merely be the avant-garde of an audience of billions. Tomorrow, everyone will listen, even if hardly anyone will actually understand, while Rappaccini informs us, in the most grandiosely bizarre way he can contrive, that our culture too has reached its terminus, and that it is on the brink of being interred forever, mourned for a while, and then forgotten.” “It’s nonsense!” Michael Lowenthal protested. “Everything worthwhile will be preserved. Everything!” “But you and those like you, Michael, will be the ones who decide what is worthwhile,” Wilde pointed out. “Even if men like Rappaccini and I were to agree with you, we should still feel the need to mourn the loss of the superfluous.

What Rappaccini is trying to make us understand, I suppose, is the horror of a Hardinist world of carefully stewarded property, inhabited entirely by the old.

That might, after all, be the ultimate consequence of the Zaman transformation.

Children have already become rare on the surface of the earth; they will eventually become as nearly extinct as those obscure species which are never decanted from the ark banks except to supply the demands of zoos.

“Whatever might happen on Mars, or in the circum-lunar colonies, Earth will presumably remain what it has already become: the MegaMall-dominated Empire of the Old. In time, maturation will ensure that it becomes the Empire of the Eternal. Some form of that empire is the heart’s desire of every thinking man and the ambition of every practical scientist—even those, like me, who stand condemned as the last generation of the envious—but its emergence is bound to cause us anxiety and fear. The death of death is a prospect we ought to celebrate, but it is also a prospect we ought to approach with solemn concern.

Who better to remind us of that than Rappaccini, the master of commemoration, the monopolist of wreaths?” Charlotte suddenly realized that Wilde was deliberately understating the case.

He was waiting for someone else to take the next step in the sequence, lest it be thought that he understood a little too well what the man he called Rappaccini wanted to achieve.

“He’s murdering people,” she said, taking it upon herself to fill the gap. “He’s murdering old men. He’s not just making an aesthetic statement; he’s writing an ad for the philosophy of Elimination. That’s how some of the vidveg are going to read this crazy business, at any rate—and I, for one, think that he always intended them to read it that way. His sim said as much, when it said that murder mustn’t be allowed to become extinct.” Oscar Wilde smiled wryly. “He did indeed,” he admitted.

“And is that the way you were supposed to read it?” Charlotte followed up. “Is that part of the interpretation that you were supposed to put to the world on his behalf?” “I don’t know,” he answered frankly. “But I am, as you have cleverly observed, reluctant to go so far in my approval.” “So you don’t agree with him, then?” Michael Lowenthal put in. “When all the fancy rhetoric is set aside, you agree with us.” Charlotte knew that the implied collective was the masters of the MegaMall, not Lowenthal and herself.

“I do share Rappaccini’s anxieties,” Wilde replied, “but I don’t think the threat is as overwhelming as he seems to think. I don’t believe that the old men will ever take over the world completely, no matter how few they are or how long they live, or how clever they are in sustaining their claim to own the earth. I can’t believe that a world in which death has been virtually abolished will be a world full of Walter Czastkas. I may, of course, be prejudiced by vanity, but I think that such a world could and should be a world full of Oscar Wildes. I’m even prepared to concede that the world will probably get by perfectly adequately even if I’m half wrong, and men like me are forced by circumstance to live alongside men like Walter.

“The spark of authentic youth can be maintained, if it’s properly nurtured. The victory of ennui isn’t inevitable. When we really can transform every human egg cell so as to equip it for eternal physical youth, at least some of those children—hopefully the greater number—will discover ways to adapt themselves to that condition by cultivating eternal mental youth. My way of trying to anticipate that is, I will admit, primitive and rough-hewn, but I am here to help prepare the way for those who come after me: the true children of our race; the eternal children; the first authentically human beings.” “That’s all very well,” Charlotte said, “but it’s Rappaccini, not you, who’s going to be world-famous tomorrow, at least for a while. Others may be more sympathetic to the violent aspects of his message than you are.” “Undoubtedly,” said Wilde.

“On the other hand,” said Michael Lowenthal, “the great majority will be horrified and sickened by the whole thing.” “I’m a police officer,” said Charlotte sourly. “I’ll be dealing with the troublesome minority.” “That was another thing the decadents helped to demonstrate, or at least to reemphasize,” Oscar Wilde observed, stifling a yawn. “Human beings are strangely attracted to the horrific and the sick. We have been careful in this guilt-ridden age of dogged reparation to invent a multitude of virtual realities which serve and pander to that darker side of our nature, but we have no guarantee that it can be safely and permanently confined in that way. With or without Rappaccini’s bold example, we might well be overdue for a new wave of Eliminator activity or a new cult of hashishins. We have done sterling work in displacing our baser selves, but the impulse to sin is not something that can be entirely satisfied by vicarious fulfillment. As our indefatigable murderess has demonstrated, actual sexual intercourse is coming back into fashion. Can violence be far behind?” Charlotte turned to look out of the viewport beside her, lifting her head to stare at the patient stars. I’m a police officer, she repeated in the privacy of her own thoughts. If he’s right, it’s me, not him or Michael Lowenthal, who’ll bear the brunt of it. It might have been a symptom of her own exhaustion, but she couldn’t bring herself to believe that Wilde might be wrong, even about the likelihood of Julia Herold evading all Hal’s traps. She no longer had any faith at all in the ability of the UN and the MegaMall to prevent the late Jafri Biasiolo, alias Rappaccini, alias Gustave Moreau, from bringing this affair to the conclusion which he had predetermined, or from making as deep an impression upon memory and history as he had always intended.

Intermission Five: A Failed God and His Creation

Whenever Walter Czastka attempted to focus his attention on the practical questions which still required settlement, they slipped away. He could not confront them without first confronting the sheer enormity of the fact, unkindly revealed to him by the UN’s hapless investigators, that Jafri Biasiolo was his son.

He had, of course, always known that he had a son, but he had never made any attempt to find out what name the boy had been given following his perfectly orthodox birth. It would have been very foolish of him to make any such inquiry, given that it would have been compounding a criminal act, whose commission had been carefully covered up by calculatedly bad record keeping—but that had not been the real reason for his refusal to investigate.

The truth was, Walter admitted to himself at long last, that he simply had not cared enough. Once the experiment had been rudely taken out of his hands, he had forsaken all interest in it. The authorities had taken over, and the young Walter had reacted in a way that had been typical of the young Walter; he had resentfully washed his hands of the whole affair. The fact that he had escaped punishment for his alleged misdeed had made things worse rather than better; it had been the local authorities which had stepped in, undertaking in their wisdom to keep the “problem” confined, to enter the child into the records in a calculatedly and deceptively economical fashion: to pretend, in essence, that the whole thing had never happened, and to demand—on pain of punishment—that he should do likewise.

Presumably they had done that for the child’s sake, but all that the young Walter had seen was a brutal minimization of his heroic effort, a casual refusal to see it as anything important, anything meaningful, anything worth recording.

And his own direly youthful reaction had been: So be it; if that’s what you think, you’re welcome to it. You want pretense, I’ll pretend—and I’ll never try to change the world again. From now on, the world can rot.

He saw, now that he was forced to see, that it had been a petty and childish reaction—but he had been no more than a child.

Perhaps, he thought, pettiness was something he had not entirely grown out of, even now. What had become of his once-grand ambitions, his once-fervent lust to be a pioneer? He had followed through with his threat, and had let the world’s corruption alone, leaving it to fester. He had pretended, as the supposedly generous authorities pretended, that he had done nothing, and that nothing had been the right thing to do.

Now, at the age of a hundred and ninety-four, he had nothing to look back on but that determined pretense. Apart from the single experiment that had produced Jafri Biasiolo—which had to be recognized, in retrospect, as a failure—had he ever even tried to pioneer anything worth pioneering? He had tried… but what had he tried, and how hard? He had abandoned all thought of human engineering and had turned instead to the engineering of pretty flowers. He had thought himself accomplished in that safe and lucrative field, and he had been successful. Had he really been outdone by those who came after him: Oscar Wilde and his unacknowledged son? Had he somehow consented to be upstaged by a clown and a designer of funeral wreaths? Surely not. And yet… Had he been allowed to follow his experiment through, Walter thought, his career path would have been very different, and his life too—but it had been taken from him in too brutal a fashion. The unborn child had been transferred to a Helier womb, and its transference undocumented, so that no one referring to the bare record of the child’s birth would see at once that he was anything but an ordinary product of the New Reproductive System.

The “local authorities” who had discovered what he had done had died off one by one, but the young men who had helped him out, in their various mostly trivial ways, had not. Like him, they had gone unpunished; like him, they had probably pushed the memory of their involvement to the very backs of their minds and might even have contrived to forget it entirely. Only three of them had known the whole story, and not one of them knew the names of all the others who had helped him. Maria Inacio was the only one who could have listed all five names and coupled them to his. Clearly, she had—but the only person to whom she had revealed the names was her son.

Her presumably beloved son.

Her presumably uniquely beloved son. Or was that presuming too much, given that the world of 2323 had changed so drastically since the days when all women had been born like Maria Inacio, capable of conception and parturition? There was no reason, of course, why Maria Inacio or any of his accomplices should ever have spoken publicly of what they knew. None of them could have won any credit by revealing that they had been part of such a wild endeavor. It was in no one’s interest belatedly to add into the record that which had been carefully excluded therefrom—not even Jafri Biasiolo’s. Now, Biasiolo had gone to his grave and had taken King, Urashima, Kwiatek, and Teidemann with him. That only left McCandless, and McCandless did not even know that the other four had been involved. Even if McCandless were spared, or had been spared long enough to tell the police what he knew, he would be unable to connect himself to Urashima or Kwiatek. The most he might remember—and even that would require a prodigious feat of memory—was that Walter might have mentioned King’s interest, and Teidemann’s, while the two of them had walked along that lonely beach discussing a little favor which McCandless might do in order to help Walter keep a secret.

The secret was safe now. Or was it? There was one other person who might—perhaps must—have heard from Biasiolo’s lips the names of those involved and the nature of his scheme: the woman who was carrying out Rappaccini’s scheme.

And that too was a mystery.

“What, exactly, is my murder intended to achieve?” Walter murmured aloud. “What, if anything, is it intended to demonstrate?” Saying it aloud did not help. There was no answer waiting in the wings for an audible prompt.

All of it, Walter thought, is beyond understanding. If I were to wrestle with the puzzle for a hundred years, I would not get close to a solution.

He sat on his bed and stared into the depths of an empty suitcase. He had opened it with the intention of filling it with everything he needed and fleeing the island, but the plan had spontaneously aborted within ten. seconds of its launch. It had taken him no longer than that to realize that he had nothing whatsoever to put in the case. The world had changed while he had lived in it.

When he had been a young man, people really had packed luggage when they needed to travel; suitskins and household dispensers had not been as clever in the early twenty-third century as they were in the late twenty-fourth, and utilitarian possessions had not been so easily interchangeable. Information technology had been almost as clever, but people’s attitudes to its instrumentality had been far more cautious; even people with nothing to hide had routinely kept data bubbled up, and had carried self-contained machines wherever they went in order to access and process the bubbles. In those days, the notion of “personal property” had meant far more than it seemed to mean now.

Walter realized belatedly that there would have been no point in filling the case even if there had been anything to put into it. No matter what the UN police said, he was not going to leave. There was no need, because there was nothing left to be afraid of—not even the threat of murder.

“After all,” he murmured, “I am guilty of something. No matter how long I have lived, and no matter how much time I have wasted, I am still the man who found Maria Inacio, still the man who tried to grasp that single slender reed of opportunity… and failed.” He wondered whether there might be grounds for perverse gratitude in the fact that his unnatural son had somehow found in that unique circumstance a motive for murder. He could not fathom that motive, and it was too late now to repair the omission of a lifetime and make the attempt to communicate with his son, but at least he knew now that his son had not been as neglectful of their relationship as he. The fact that his son, having discovered the circumstances of his birth, had decided to murder his father and all of his father’s accomplices was surely proof that the matter of paternity was not irrelevant to him, and could therefore be construed as a compliment of sorts.

That, at any rate, was surely what Oscar Wilde would have said.

“Damn him to hell,” Walter murmured—meaning Oscar Wilde, not Jafri Biasiolo, alias Rappaccini.

The profoundest mystery of all, of course, was why Jafri Biasiolo, having learned from Maria Inacio the identity of his father and the circumstances of his birth, had done nothing for so long. Had he postponed his “revenge”—if “revenge” it was—until he himself was dead merely in order to avoid punishment? If so, he was worse than a coward, because his agent undoubtedly would be caught and would suffer his punishment in his stead.

It made no sense.

Walter left the bedroom and ordered a bowl of tomato soup from the dispenser in the living room. He ordered it sharp and strong, and he began to sip it while it was still too hot, blistering his upper palate. He carried on regardless, forcing the liquid down without any supplementation by bread or manna. He contemplated chasing the soup with a couple of double vodkas, but there was a difference between the stubborn recognition that he ought to eat and mere folly.

In any case, the benign machines which had colonized his stomach would not let him get drunk unless he first sent messengers to rewrite their code—and that would take hours.

He tried yet again to drag his mind back to the matter in hand. Why should his son want to kill him? Because he—the son—felt abandoned? Because the experiment had failed? Because his mother had asked him to? But why should Maria Inacio want him dead, when she had been a willing partner in the escapade? Why should she want all those who had helped to set it up to be killed along with him, when not one of them had hurt her in any way? And if Maria or her son had wanted to take revenge, why had they waited so long? Why now, when there was so little life left in any of their intended victims? If Moreau had lived thirty or forty years longer—as he certainly would have, had the experiment not failed so ignominiously—there would probably have been no one left for him to murder. Only luck had preserved all five of the people who had given Walter the resources with which to work, a place to hide his experimental subject, and the alibis he had needed to keep his endeavors secret. Only luck had preserved him long enough to outlive his son—if his current state of body and mind could be thought of as “preservation.” Perhaps that was what Moreau resented: the fact that Walter and his five accomplices had all outlived him, when the whole point of his creation was that he was supposed to outlive them. Perhaps, if he had been a better artist, a better Creationist, he would not have failed. Perhaps that was what his forsaken son had been unable to forgive him. Perhaps that was why his forsaken son had said to himself: when I die, you must come with me, for it was your failure that determined the necessity of my death. That almost made sense. Could it also begin to make sense of the fact that the instrument of the son’s murderous intent was a replicate of his mother? The game of God, Walter reflected, must have been the only one he had wanted to play when he was young and devoid of pretense. Perhaps, when he had been forced to put that game aside he had put aside playfulness itself. Perhaps, thereafter, he had presented to the world at large the perfect image of a man who was down-to-earth and matter-of-fact. Everyone thought of him as a realist: a man of method, a hardheaded person without any illusions about himself or anything else. He had lived that pretense for nearly two hundred years—unless, of course, it was no pretense at all, and he really was down-to-earth and matter-of-fact, hard of head and hard of heart, incapable of play.

Walter remembered the Great Exhibition held in Sydney in 2405, when he had seen the work exhibited by Oscar Wilde and Rappaccini and said to himself: These idle egotists can only play; they have not the capacity for real work. They are vulgar showmen whose only real talent is for attracting attention. Even their names are jokes. They are the froth on the great tide of biotechnics, whose gleam and glitter will adorn the moment while the real power of the surge will come from honest, clear-sighted laborers like myself. I am the one who has the intelligence and the foresight to play the game of God as it was meant to be played.

In the ninety years that had passed since the days of the Great Exhibition, Walter had gradually come to understand the frailty of that hope. Here, on his Pacific atoll, he was the unchallenged lord of all he surveyed, with none to stay his hand or resist his edict, and yet… He had set out to build a Garden of Eden, but the Tree of Knowledge was not here, nor even the Tree of the Knowledge of Good and Evil. When he was dead—which would presumably be fairly soon, whether or not Gustave Moreau’s murderous scheme could be interrupted—people would be able to visit his island, and say: “Yes, this is Walter’s work.” If they were generous of spirit, they might say: “Look at the sense of order, the cleanness of line, the careful simplicity. No wild extravagance for Walter, no illusions. Method, neatness, economy—those were always Walter’s watchwords.” And if they were not so generous? “Dull, dull, dull.” In the quiet arena of his mind, Walter could almost hear the voices which would deliver that deadly verdict. Oscar Wilde would state it much more elaborately, of course, while waving his pale left hand in a dismissive arc. Few people would pay any attention to Oscar—people never did pay attention to mere caricatures—and no one would ever believe for a second that he, dear Walter, would care a fig what Oscar Wilde might think of his work, but the majority opinion was not the important one.