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    Slant
    Slant
    Slant
    Ebook634 pages10 hours

    Slant

    By Greg Bear

    3.5/5

    ()

    Read preview

    • Artificial Intelligence

    • Survival

    • Mental Health

    • Betrayal

    • Identity

    • Mad Scientist

    • Dystopian Society

    • Ai as a Threat

    • Ai as a Character

    • Family Drama

    • Secret Society

    • Chessmaster

    • Mole

    • Parental Substitute

    • Amnesiac Hero

    • Power Dynamics

    • Technology

    • Friendship

    • Conflict

    • Relationships

    About this ebook

    The “reigning master of hard-edge science fiction takes a chilling look at the plausible near-future” in this cyberpunk sequel to Queen of Angels (Seattle Post-Intelligencer).

    In the second half of the twenty-first century, nanotechnology has transformed every aspect of society. Humans can now change their abilities, their appearance, their very bodies on microscopic level. Advanced psychotherapy seems to have wiped away violence and illness. The world is sane and in balance.

    However, that balance teeters with the grisly murder of two prostitutes and a series of suicides. Soon, public defender Mary Cho’s investigation finds a dark danger lurking in the recesses of the “dataflow.” Entertainment, virtual pornography, neo-Luddite separatists, an unknown artificial intelligence—everything seems to be intertwined in a vast conspiracy. As technology fails so too does the society perched high atop it. Perfection is a high pedestal from which to fall.
    LanguageEnglish
    PublisherOpen Road Media
    Release dateApr 1, 2014
    ISBN9781497607231
    Slant
    Author

    Greg Bear

    <B>Greg Bear</B> is the author of more than thirty books of science fiction and fantasy, including <I>Forerunner: Cryptum, Mariposa, Darwin's Radio, Eon</I>, and <I>Quantico</I>. He is married to Astrid Anderson Bear and is the father of Erik and Alexandra. His works have been published internationally in over twenty languages. Bear has been called the "Best working writer of hard science fiction" by the <I>Ultimate Encyclopedia of Science Fiction</I>.

    Read more from Greg Bear

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    Reviews for Slant

    3.5/5

    24 ratings16 reviews

    What did you think?

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    • 3/5
      While a mildly interesting read, this book is HEAVILY trapped in the period it was written. I would only recommend it to people who love old things like this.
    • 4/5
      A real classic from Aldiss, he sees and understands so well the way I'm sure us humans will behave if we ever get that 'first contact'.
    • 4/5
      Satire. Several different humans have several different reactions to these very alien beings, who have their own unexpected reaction to us. One of the things that's funny is the inability of the humans to recognize their own shortcomings, even when said faults are the same faults they believe the utods to have.

      I would have liked this to be longer, to have the ideas further developed. For example, it seems unfortunately sexist and homophobic, but a careful reading reveals that Aldiss probably has a personal opinion more enlightened than that of the contemporary audience for whom he was writing. (Iow, he didn't mean what he wrote.)

      Worth a reread (maybe someday), because the ideas are thoughtful and plentiful, and so concisely presented, that I'm sure I missed some.
    • 3/5
      The title story is an excellent piece of Steampunk featuring H G Wells himself.
    • 5/5
      "Civilization is the distance that man has placed between himself and his own excreta.""By the standards of another species," Mrs. Warhoon was saying, "our culture might merely seem like a sickness which prevents us from seeing how we ought to communicate with the aliens, rather than any shortcomings of theirs."I must say I'm really late in discovering the sheer brilliance of Brian Aldiss. This is another outstanding novel that is once again challenging and massively entertaining at the same time. Reputedly written (1964) in disgust and anger over inhumane experiments carried out on dolphins, Aldiss poses some big questions What is civilization? What is intelligence? What does it mean to be civilized, and would we recognize these things if they weren't presented to us in non-anthropomorphic forms? To what extent can our behaviours and the norms of our society be said to be the result of civilized, rational thought and to what extent is it irrational, instinctive, tribal in its nature?(Spoilers follow)The story through which these questions are posed starts off with the old SF trope of a spaceship landing on a distant planet and coming across a group aliens (who have also travelled to the world on their own spaceship) wallowing in mud and their own excrement. These aliens are ugly, looking like two-headed hippos and when they move towards the earthmen, they are gunned down. Two surviving specimen are taken into captivity and taken back to Earth where they are kept in a zoo and studied. Attempts to dsicern whether or not the aliens are intelligent and to communicate with them meet with failure and eventually another expedition is sent out to find the aliens' home planet.Aldiss is at his best when skewering the conventions of British society during his time. Even as they talk about the unwillingness of the aliens to attempt to communicate, we see the personal lives of some of the scientists and philosophers working on the project - the petty rivalries, the marital breakdown, the father-filial relationships in disarray. They condemn the aliens propensity to wallow in their own filth, while we see a society which pollutes the environment and doesn't seem to mind so much wallowing in its own wastes. (The scene where two of the scholars go on a date to the theatre is absolutely brilliant. They eat meat, the woman puts on expensive perfume made of ambergris (regurgitated semi-digested squid from a whale's stomach - actually used in perfumes) and they walk through littered streets, wearing masks because of the air polluted by car fumes!) When it is discovered that the aliens can feel no pain or fear, the military gets interested and the surviving specimens are experimented on to destruction in the hopes of developing chemicals that will allow soldiers to fight without feeling pain or fear (The UK is at war with Brazil at the time).But Aldiss' demolition of the myths of human civilization don't end there. Those characters who develop an empathy for the creatures are sidelined or seen to be crazy by society, while those who seem to exhibit psychopathic behaviours are promoted and encouraged. In the second expedition, the men who come across the pacific, cattle-like aliens can't help but let their predatory instincts come to the fore. The only woman on the expedition, who sees in the aliens' buildings and artefacts a sophisticated civilization which has successfully evolved in tandem with nature rather than in opposition to it, is treated as a neurotic and a trophy for expedition's the alpha male. The ending of the book is powerful and brimming with anger.There's a great deal more here to mull over and dissect. Themes of nature/nurture, morality, social relationships, colonialism, all are touched on in this short work. This is another classic Aldiss novel.
    • 3/5
      Human explorers discover an extremely organic spacecraft, and have difficulty connecting it with the alien explorers from it. We don't easily understand intelligences that don't follow the technology route.
    • 1/5
      From an author whose other works are engaging and thought-provoking, this book was a disappointment. There were countless, intertwining plot lines, but many remained difficult to appreciate even as the book was coming to a close and some ended up irrelevant. The characters lacked the depth and substance to make me care about whether they survived or not, and some left me wondering what purpose at all they had in the book. A few intriguing ideas, but nothing worth 500 pages.
    • 3/5
      Slant, is a aequel to Queen of Angels, but, I would say, is much less ambitious and also a much better book.
      Policewoman Mary Choy is back, after a few life changes (divorce, move from LA to Seattle, job change). When she's called on to assist in an investigation of sex workers killed through botched back-alley nanotech operations, she does not expect to be launched into a far-reaching conspiracy to bring down society. But a billionaire investor's mysterious suicide, a virtual-reality murder, and an unprecedented epidemic of mental disturbances and general crime all seem to be somehow related...
      With diverse characters that include a has-been porn star, a scientist with self-induced Tourette's syndrome, a renegade AI, and a heist mastermind without a past, Bear discusses many of the same themes as in the previous book, but in the context of a complex, entertaining and action-filled novel.
    • 4/5
      Bear's characters can suffer somewhat (for lack of depth) from the density of his plot, but this is a thought-provoking sci-fi novel. Nice to see "normal" people struggling with some of things Bear thinks we all may have to deal with very soon.
    • 3/5
      High time for a quick read, I headed to the science fiction section at the used bookstore and picked up Slant, as Greg Bear has made it onto my list of trusted authors. Despite that, the first noteworthy thought I had reading this book was "Please, dear Greg, no more writing sex scenes!" I was a tad concerned when sex/porn turned out to be rather central to the plot, but the most cringe-worthy moment had passed and I was soon absorbed by the story.

      Basic idea -- it's 60ish years in the future. The internet dominates modern life. It has advanced to allow direct plug-ins that let the user see, fell, etc. the experiences of others -- live or recorded. This has taken over the economy. Those who produce popular content make money, those who only consume struggle. Also important is that large sections of the population have been "therapied" -- destructive/non-functional brain circuits are physically repaired by nanites.

      I would not place this among Bear's strongest works, though there are many interesting ideas here. Commentary on the internet, elitism, runaway capitalism. Bear's female characters are starting to feel a little similar, but at least they're smart, powerful, and allowed to have relationships with each other, so I'll give him a pass for now.

      Give it a read if you're a fan of Greg Bear. If you haven't read him before, start with Darwin's Radio or Moving Mars.
    • 3/5
      Substance: The second half is much better than the first half, most of which, it being an exercise in pornography disguised as an explanation of the techniques of popular entertainment, could have been jettisoned without effecting the main plot of the book. The science and technology are assumed, not explained, in a duolithic world of sad and not very likeable people. No middle-class, no middle-ground.However, the well-constructed plot reveals itself satisfactorily, disclosing hidden motives and other secrets as needed, although the ideological worldview of the novel as a whole is shallow and one-sided. Protagonists do assert that family is the most important thing in their lives, but it's hard to credit their sincerity sometimes.The self-aware computer is well-done, although the concept of warbots clearly breaches Asimov's Laws of Robotics (no specs are given for Bear's computers). He describes his AI in technical jargon that he never defined.Style: Multiple protagonists took a while to get straightened out, although at least they are all different from each other, and not cardboard characters. Graphic.NOTES: p. 330ff: Major discussion of the AI situation. Jargon included "loop awareness" and "autopoietic systems", which I had to look up later. I got the idea anyway, but it would have been nice if Bear had slipped the definitions into the conversation somewhere.p. 407: "bio-neural mind"p. 475: I like the phrase "elite arrogance", even though it is directed at the books boogie-men, the Neo-Federalists, a species of elite conservatives not to be confused with the gun-toting libertarian unhinged patriots of Green Idaho.p. 482: danger from a simple infection vector - "corrupt Disneyland and you corrupt the world".p. 487: throw-away comment encapsulates the state of the art in this milieu - "The Alexandria Quartet" being produced by Disney for children, with the novel's porn star.
    • 4/5
      I really liked this sci-fi novel at first, but at about the halfway point it started to drag for me. Some interesting concepts here, and while on the whole I enjoyed it more than not, I'm left feeling a bit like it didn't all quite come together.
    • 3/5
      Set in the same universe as Queen of Angels, this is sort of a who-done-it in a future US where just about everybody is happy due to manipulation via nanotech, and everybody is connected to a super high bandwidth Internet full of, well, mostly porn it seems.(Certainly a plausible future!) However, under the surface, problems persist. Fairly fast paced and often tense, this was a pretty good read.
    • 4/5
      it's a kind of sequel to Queen of Angels (two common characters, set a bit later). he dumps artifical intelligence, nanotech into a dystopia pot, stirs well, and emerges with a fairly standard cyberpunk narrative. since i kinda like cyberpunk narratives, i was fairly pleased with the result. but the characters weren't so much interesting, the whole thing read stiffly in Bear's usual style, and it's not as inventive as his premises can be.
    • 3/5
      Better than Quantico, not up to the standard of The Infinity Concerto.
    • 5/5
      5 Stars: Read over & over (&/or) A Lifetime Keeper--Recommend to everyone!This was my first Greg Bear book and I loved it. Nice pace, interesting characters, just the right balance of science and fiction.

    Book preview

    Slant - Greg Bear

    Slant

    Greg Bear

    FIRST SEARCH RESULT

    * * *

    ACCESS TO MULTIWAY WORLD FEED OPEN

    BUDGET: SELECT, RESTRICTED

    SEARCH FILTERS 

    KEYWORDS?>

    > Knowledge, Sex, Dataflow

    TOPIC FILTER: > Community

    * * *

    "Tell all the truth,

    but tell it slant"

    —Emily Dickinson

    RIVERS

    Dataflow today is money/blood, the living substance of our human rivers/arteries. You can steamboat the big flow, or slowly raft these rivers up and down the world, or canoe into the branches and backwaters, with almost perfect freedom. There are a few places you can’t go—Saudi Arabia, Northern Enclave China, some towns in Green Idaho. Nobody much cares to go there anyway. Not much exciting is happening in those places.

    —The U.S. Government Digiman on Dataflow Economics,

    56th Revision, 2052

    1

    Educated Corpses

    Omphalos dominates Moscow, Green Idaho. It glows pale silver and gold like a fancy watch waiting to be stolen. A tetrahedron four hundred feet high, with two vertical faces and a triangular base, it is the biggest thing in town, more ostentatious than the nearby Mormon temple, though not so painfully white and spiky. The leading edge points at the heart of Moscow like a woodsman’s wedge. The vertical faces descend, blind and windowless, to sink seventy feet below ground. The single sloping face is gently corrugated like a dazzling ivory washboard for the leaden sky.

    Omphalos is a broad-shouldered edifice, Herculean architecture for the ages, given the kind of shockproof suspension and massive loving armor once reserved for hardened defense installations and missile silos.

    Jack Giffey waits patiently in line for the public tour. It is cold in Moscow today. Thirty people stand with him in the snaking line, all clearly marked by their gray denims as young tourists biking through Green Idaho; all youthfully unafraid of the reputation of the state’s Ruggers, the legendary gun-wielding rugged individualists, who see themselves not as lawless brigands but as steely-eyed human islands in a flooded, corrupting stream.

    But the state’s reputation is exaggerated. Not more than three percent of the population could accurately be labeled Rugger. And fewer than ten young tourists each year vanish from the old logging trails in the regrowth timberlands, their forlornly beeping Personal Access Devices and little knit caps nailed to posts on the edges of the abandoned national forests.

    In Giffey’s opinion. Green Idaho has all the individuality of a zit on a corpse. The zit may consider itself special, but it’s just a different kind of dead meat.

    Giffey is known to his few friends as Giff. At fifty-one he looks mild and past his aggressive years, with a grizzled and ragged beard and kind gray eyes that attract the interest of children and discouraged women past their picky twenties. He doesn’t like Green Idaho any more than he likes the rest of the nation, or the world, for that matter.

    Old-fashioned radiant outdoor heaters mounted on poles glow raw-beef red overhead, trying to keep the people in line warm. Giffey has been here before, thirteen times; he’s sure Omphalos knows his face and has tagged him as worth paying marginal attention to. That is okay. He does not mind.

    Giffey is among the very few who know that Omphalos absorbs knowledge from the outside at the extraordinary rate of fifty million dollars a year. Since Omphalos is publicly assumed to be a fancy kind of tomb for the rich and privileged, its dead and near-dead must be very curious. But few ask serious questions about it. The builders of Omphalos paid a lot for freedom from oversight, the kind of freedom that can only be bought in Green Idaho.

    The rulers of Green Idaho, true to their breed, hate the Federal and the outer society but revere money and its most sacred benison: freedom from responsibility.

    Giffey has been to the Forest Lawn Pyramid in Southcoast California; Omphalos is, architecturally, by far the classier act. But he would never think of robbing the truly dead in Forest Lawn, with their few scattered jewels adorning rotting flesh.

    The frozen near dead are another matter. Entombed with all their palpable assets—precious metals, collectibles, long-term sigs to offshore paper-deed securities—the corpsicles racked in their special refrigerated cells in Omphalos, Giffey believes, might be worth several hundred million dollars apiece.

    Those rich enough to afford such accommodations have their choice of packaged options: cheapest is capitation, biovitrifying and cryo-preserving the head alone. Next is head and trunk; and finally, whole-body. There are even more expensive and still-experimental possibilities… For the wealthiest of all, the plutocratic highest of the high.

    The sloping face of the wedge gleams like a field of wind-rippled snow. The line begins to move in anticipation; there are sounds from within. Omphalos opens its tall steel and flexfuller front doors. Its soothing public voice spreads out over the crowd, only mildly funereal.

    Welcome to the hope of all our futures, the voice says as the line pushes eagerly into the tall, severe granite and steel lobby. Great shining pillars rise around the student tourists like steel redwoods, daunting and extra human. The floor is living holostone, morphing through scenes of future splendor beneath their feet: flying cities high above sunset mountains, villas on Mars and the Moon, idyllic valleys farmed by obedient arbeiters while beautiful, magisterial men and women of all races and creeds watch from the balconies of their spotless white mansions. "This completely automated facility is the repository for a maximum of ten thousand two hundred and nineteen biologically conserved patrons, all expecting long, and happy lives upon their reconstruction and resurrection.

    Within Omphalos, there are no human employees, no attendants or engineers or guards…

    Giffey has never met a machine he could not beat, at chess, at war games, at predicting equities weather. Giffey believes he may be one of the smartest or at least most functionally successful human beings on this planet. He succeeds at whatever he wants to do. Of course—he grins to himself—there are many things he has never wanted to do.

    He looks up at the distant lobby ceiling, studded with crystal prisms that project rainbows all around. Above them, he imagines stacks of cold cells filled with bodies and heads. Some of them are not frozen, he understands from secret sources, but are still alive and thinking, suspended in nano baths in what is euphemistically called warm sleep. They are old and sick and the law does not allow them to undergo any more major medical intervention. They have had their chance at life; anything more and they are classified as greedy Chronovores, seekers after immortality, which is illegal everywhere but in the quasi-independent republic of Green Idaho, and impractical here.

    The terminally ill can, however, forfeit all but their physical assets to the republic, and enter Omphalos as isolated wards of the syndicate.

    Giffey presumes the still-living are the curious ones. They stay current as they sleep.

    Giffey does not care what they’re dreaming, half-alive or wholly dead, whether they’re locked into endless rounds of full-sensory Yox, or preparing themselves for the future by becoming the most highly educated near-corpses in the dataflow world. They should be honorably gone from the picture, out of the game, They don’t need their assets.

    Omphalos’s occupants are just a different set of pharaohs. And Jack Giffey is just another kind of tomb-robber who thinks he can avoid the traps and break the seals and unwrap the mummies.

    You are now within the atrium of the most secure building in the Western World. Designed to withstand catastrophic earthquakes, volcanic activity, even thermonuclear explosions or microcharge dispersals—

    Giffey is not listening. He has a pretty decent map of the place in his head, and a much more detailed map in his pad. He knows where the arbeiters must come and go within the building’s two entrances. He even knows who has manufactured the arbeiters, and what they look like. He knows much else besides. He is ready to go and does not need this final tour. Giffey is here to legitimately pay his respects to a remarkable monument.

    Please step this way. We have mockups of hibernaria and exhibits usually reserved only for prospective patrons of these facilities. But today, for you exclusively, we allow access to a new and vital vision of the future—

    Giffey grimaces. He hates today’s big lies—exclusively, only, I love you alone, trust, adore, but ultimately, pay. Post-consumer weltcrap. He’s glad he has paid his money for the last time.

    He smiles at the bank of sensors scanning the visitors for suspicious bulges and behaviors. The system passes them through to the display area. The casket room. Lie in silken comfort through all eternity.

    The young tourists in their denims and warm, upscale Nandex stand agape before the ice-blue enamel and flexfuller hibernarium, a long flattened tube stretched across a mocked-up cubicle like a dry-docked submarine cemented at both ends. Giffey knows what the tourists, the young students, are thinking. They are all wondering if they will ever be able to afford this kind of immortality, a chance at the Big Downstream.

    Giffey doesn’t care. Even riches and the high life do not matter to him because unlike his partners, he has severe doubts they will ever be able to fence such goods, nearly all of which will be marked with ineradicable tracers. Besides, gold means much less than it used to. Dataflow is all.

    He’s in it to tweak a few noses, and to play against the machine he suspects lies within. Hardly a machine at all…

    "Our exclusive method of bio-vitrifying cryo-conservancy was pioneered by four doctors in Siberia and perfected fifteen years ago. The fluids of a human body normally crystallize upon freezing, but by vitrifying these fluids, making them smoothly glassy, we eliminate crystals completely—"

    Giffey believes he will face an unauthorized artificial intelligence—Omphalos’s own advanced petaflop INDA, perhaps even a thinker. He’s always wanted to go up against a thinker.

    He suspects he’ll lose. But maybe not.

    And what a game!

    M/F, F/M, M/M, F/F

    / is what happens between us

    / is what separates us.

    We are all different sexes, though with only two brands of equipment.

    —The Kiss of X, Alive Contains a Lie

    2

    Stone Hammer

    Alice Grale believes this is cataspace, all interaction but no motion. In the small black room off the long black studio, waiting can be a dull chunk of time filled any way at all. She and her co-star, Minstrel, are talking, waiting for adjustments on the stage. Minstrel lounges naked on the old low couch, graceful as a leopard. His body is all grace and blunted angles.

    So why don’t you like those words? Minstrel asks. They’re ancient and traditional, and they describe what we do.

    They’re ugly, she says. I say them if I want to or when I’m paid to, but I’ve never been fond of them. Alice sits on the folding metal chair before him, illuminated by a soft free spot of white light, wearing a flimsy black robe, her touching knees exposed. There is some relief in old friendship. She has known Minstrel for nine years. They have been talking for twenty minutes and Francis is still not ready for them.

    "You never fail to surprise me, Alice. But I’m making a point. Try saying the word, he challenges. The tetragrammaton."

    She considers, then says it, with a rise of her cheeks and a curve of her lips and derogatory tilt of her head, her voice not very loud and void of emphasis.

    "You’re not doing it justice, Minstrel complains. God knows I’ve heard you say it often enough. Say it professionally, if you can’t get into it personally."

    Alice glares at him.

    I mean it, he says. I’m making a point here.

    Minstrel seems a little intense today, pushy. But she says the word once more. Her eyes narrow and her nose wrinkles.

    Minstrel sniffs. Your heart isn’t in it, he says dubiously, but even so, it brings a snarl, feel it?

    Alice shakes her head. It’s what somebody else wants me to say, and that’s the way they want me to say it.

    Minstrel chuckles and taps her knee with one long square-tipped finger. Like all women, you are not your art.

    Alice is both perplexed and irritated. What’s that mean?

    "The word is a snarl. It’s old and hard and blunt—it’s a stone hammer. You say it when you really need the person you’re with and you aren’t embarrassed to show yourself deep down. It means what’s happening touches your feral instincts."

    Bullshit.

    You say that casually enough, Minstrel observes. He stands, applies finger to cheek and inclines his head. In this pose, long and loose, he reminds Alice of an El Greco saint. All he needs is a slack blue loincloth.

    She feels the familiar deep appreciation, the yearning that has not diminished in over fifty professional encounters in thirty-one vids, beginning with her first when she was nineteen. That was ten years ago, and he was thin and ribby, hollow-chested and uncertain of his peculiar talent. Now he is lean and omni-asian brown, muscles finely toned and defined, his body a temple as well as an office, long hair pulled back from a high forehead, long thin patrician nose almost too sharp, lips proud as if recently slapped.

    Alice pretends languid boredom, then shifts suddenly into seductive speed. "All right. Fuck me," with her best, most provocative professional emphasis.

    Still not convincing, Minstrel teases.

    "Fuck me with your… penis," Alice says. They both laugh.

    Minstrel’s face crosses from saint to ascetic cherub. "Utterly, desperately limp. Only a doctor or a therapist would call it that, to make you feel inferior. Most men prefer cock."

    Crows only in the morning, Alice says. All conversations with Minstrel, even in the down time between plugs, are contagious. "Penis sounds like a planet or a country."

    Vagina. Labia. Clitoris, he prompts.

    Like characters in a Renaissance vid, Alice says. She muses. "They are all royalty in the land of Penis. Vagina never touches another person without wearing gloves. She is cool and dresses in black lace."

    Minstrel’s face lights up. Labia is a dangerous woman, sister to Vagina and Clitoris, he says. A vampire and poisoner.

    Clitoris is the youngest, virginal sister, Alice says. She loves games. They are all daughters of… Tongue tipping through her lips, catlike, while she thinks. Lucrezia Menarchia.

    Bravo! Minstrel says. He applauds.

    Alice bows and continues. Clitoris is the only one with any decency. She blushes with shame at how her family carries on.

    Minstrel reddens with subdued laughter. They should not be too loud up here; it might upset Francis, who can be very testy while preparing for a plug. "All right. Cunt," he suggests.

    Alice pauses, scowling. That’s a tough one.

    Not yours, my dear.

    Alice gives him a beneath-me face and taps her finger on her nose, thinking. "Cunt is a barbarian princess from the outer reaches. She is raised by the outland tribes of the province of Puberty."

    Minstrel squints. Not Puberty. Not quite right. He works at it and substitutes, "Pudenda."

    Alice grins. "Pudenda it is. Cuntia is her name when she travels in the civilized realms."

    Minstrel snaps his slender fingers. We’re on to something. Maybe Francis will make us writers. Listen: Cunt is swapped in a hostage exchange between Lucrezia Menarchia and Cunt’s father, King Hetero. Lucrezia sends her daughter—her hopelessly moral daughter Clitoris to learn the barbarian ways and loosen up a bit. Clitoris finally lets her hair down and finds fulfillment in the arms of Cunt’s heroic brother, Glans. Cunt, however, must preserve her honor in Menarchia rather than submit to temptation, for Lucrezia rules a corrupt land.

    Alice takes a deep breath, pretending to be stunned by this burst of genius, then laughs out loud, the hell with Francis, who shouldn’t keep them waiting so long. She seldom laughs this way, it sounds so much like an ass’s bray to her, but she is easy and open with Minstrel. "So who or what is your precious Fuck, then?" she asks.

    Minstrel holds his hands as if in prayer and pretends great gravity. Not to be spoken lightly, or profaned. The tetragrammaton… Fuck… is the most powerful god of all, twofaced progenitor of the world. He prefers we see just his benign face, the baby-making, world-renewing side. But we all know his opposite: Trickster, the devil that rides us and whips us until we bleed.

    At this profundity, Alice stands on long legs, yawns, and stretches. As always, you are uselessly instructive, she tells him. Minstrel gives her his slow prankboy’s smile and stretches his arms higher than she can reach. She subdues a little shiver. Their chemistry is working, and holding back does her performance no good.

    Alice turns to the low horizontal slit window overlooking the black stage. Something twinkles down there but they are off angle and cannot see the projection. Francis is tediously careful with his plugs and backmind details, but he could have laid in all of Chinese sexual psychology by now. Francis should be done. He’ll want to hook us. Back in the real. Her forehead creases

    Are you up, dear? Minstrel asks.

    Alice shows him her moon face. Never less, she says. Are you?

    Minstrel’s muscles flex at the back of his jaw. He is hiding something behind the cheer. He can hide from almost anyone but her; she knows him better than most wives know their husbands. To Alice it seems they have come far and survived much and against the odds, but at some cost. Minstrel hides his minuses poorly in front of her.

    A pity, she thinks, that his body is so seldom seen in the vids they make now. Preferences of the blessed audience for the psynthe exotic.

    You look negged, she says.

    Minstrel turns away as if unfairly poked. Let me keep my mood, he tells her.

    Alice moves in, swaying her shoulders, clucking her tongue. I’ll need all of you in five minutes, and you can’t make me work harder to get it, she says. What’s down?

    Not my libido, he shoots back.

    You’ve cheered me the last hour instead of leaving me to brood over twisted thumbs. She wraps her arms around him. He pushes her off with what begins as real and angry strength, and ends gentleness and restraint.

    Is it Todd? she asks.

    Todd was a year ago, Minstrel says.

    Alice nods sympathetically, lips pursed. I should have known. Why didn’t you tell me?

    I hide, you hide, Minstrel says, and tries to force more brave wit over what is now a sad and lost face.

    Poor Minstrel, she says. They do not deserve you.

    No, they fapping well do not.

    So what’s his name?

    The little fap’s name is Giorgio and you, dear Alice, will never meet him. He doesn’t deserve to meet you.

    The wound is seldom far beneath Minstrel’s armor when she is doing the probing; he comes to her, at long intervals, like a dog with a boil, knowing she will hurt him with her lancet; also knowing it will do him good.

    It is now that Francis chooses to blat his awful airhorn.

    Minstrel closes up his cares and assumes a heavy-lidded roué’s smile. It is never duty with you, he says, but whatever it is, it calls.

    Alice loops her arm through his and they step down the broad railless stairs to the stage, like royalty or Astaire and Rogers making a grand entrance.

    Francis awaits them in the plug room beside the main stage. Here as well as on the stage all is flat gritty black, no reflection allowed as the camera mixes its own glittering fairy-light dreams with the quantized lux of the real. Francis has named this camera Leni. Leni has become much more I than an optical device. She scatters over the stage, feeding images and projections at one end, combining them with backmind layers at the other, a smooth silver and bronze balled and coiled snake.

    Francis is irritated. His AD, scrawny and unkempt—Ahmed, Alice remembers vaguely; Francis goes through four or five ADs each production—hurries to arrange the bottles of nano and their small shiny plastic conduits and dams, to be applied to the occiput of Alice’s skull and to Minstrel’s temple.

    "Alice, fabled Alice, what would you do? Francis asks as they reach the bottom of the stairs. I’m two weeks behind, two mill over, I have general fibe and sat release dates in four days—and I’m still layering!" Francis shakes his head. He always appears a little sad and irritated. Alice accepts this in Francis, as well as his fits of temper, only because what he does is unique and, she thinks, good; though Francis is not extraordinarily commercial, working on a Francis vid, even as backmind, can never hurt one’s reputation.

    You’ve kept us waiting. Plug us and get youth layers, Alice says matter-of-factly.

    Echo that, Minstrel says.

    Francis wags his finger. Fuck artists shouldn’t bitch.

    Alice cringes dramatically, pushes his finger back with her own.

    Tiny black and silver machines with tactile fuzzy wheels and bug-jewel eyes crawl around the plug stage. They are little versions of Leni. Alice feels their bright little eyes sucking in her offline words. She hates them. Francis allows these recording arbeiters to roam with absolute freedom, examining whatever they choose; there are many in the audience who lose themselves in the life of the production. Francis makes as much on live behind-the-scenes docs as on the vids themselves. Fuck artist, Alice croons to the nearest bug.

    Francis, the nano’s a little old, Ahmed says. It isn’t perking.

    No surprise, Francis says. We’ll do prep while it sets.

    You aren’t going to hook us with stale nano, are you, Francis? Minstrel asks.

    No fear. Alice, have you read the text?

    Only from the prep you sent. It’s a long book, Francis. In fact, antique and long and dull.

    Francis is preparing a deep-layered vid of The Faerie Queene. He smiles proudly. A real challenge, to fade the wonderful Spenserian stanzas into a Yox. His face glows with the subject. The Red Cross Knight is subject to such temptations, Alice. He is traveling with an Eastern queen named Una. A dragon has ravaged her land, and she hopes the Red Cross Knight will—

    It’s set, Francis. Ahmed shows him the bottles of translucent nano, now fully charged with nutrients. The liquid within is turbid and finally perks; it appears restless. Alice regards it with misgivings. She has plugged over a hundred times, on various jobs, and she has never trusted the process—but she has never been seriously injured even when, as now, the hook is administered by a nonmedical.

    The knight will rid her land of the dragon. So far, the Red Cross Knight has vanquished the hideous monster Error and all her progeny. A truly horrible scene, and I’ve layered it brilliantly. Now they are in a place of great temptations—Una and the knight. You’ve read the cues.

    We’re all primed with ghostly passions, Minstrel says.

    Alice, my pride, you give me the most haunted libido I’ve ever recorded, when you’re on point.

    I hope that’s a compliment, Alice says.

    It is. Una and the Red Cross Knight have strayed into the workshop of the evil Archimago, who appears as a godly and kindly Hermit. It is a place of terrible temptations. You are a haunted spright, a succubus created by Archimago to torment and delude. You feel the deepest need for this young, handsome, and virtuous knight, but if you have him, you destroy him—and you know he will never fall for your illusion. However, by appearing in the form of the chaste Una, and engaging in lewd revels with fellow phantoms, you will mislead him into thinking this Eastern Lady has succumbed and is wallowing in lust. You must feel the False Una’s passions as if she were actual souled flesh, not a demonic illusion. Many curious eyes and fingers are sure to want to plug into that layer.

    Specks like you’re going for broad appeal, this time, Minstrel says, picking at something between his teeth. He inspects his finger.

    I’d like to pay some bills, yes, Francis barks back. You’ll go direct into Leni while we run the set piece on stage. You’ll be layering over seven emotional records from other fluffers, so I need everything clean and clear.

    Fluffers. Alice hates that word even more than fuck artist, though it is commonly used. It was once applied to women who kept actors erect or lubricious in old erotic movies. The comparison is inapt, at best; what Alice and Minstrel will provide is a layer of raw emotional experience, straight from their minds into the camera. Leni is only little less than a large set of eyes with a brain behind them. Francis guides Leni, cajoles her; theirs is not the relation of artisan to tool, they are more like partners.

    Ahmed brings up the little dams and shapes them to Alice’s head first, then Minstrel’s. He syringes a dollop of warm nano into the dams as they sit still. Alice is used to this method of creating a broadband plug; it’s common in the cheaper Yox.

    A few minutes pass. A microscopic lead of conducting material has passed through the interstices of her skin, bone, and brain, into her deep amygdala, hippocampus, and hypothalamus; into the seats of her judgment engine, the Grand Central Terminal of her self. She feels nothing.

    Ahmed applies transponders to the little silver nipples of nano, no larger than a thumbnail. He takes readings for several minutes from the camera, Lights flash agreeably. Hooked, he tells Francis.

    Alice removes her robe. Minstrel is already naked. Francis makes a butterfly gesture with his hands then clasps his fingers.

    Here come the Sprights and Archimago. Taking, he says. Click one.

    Ahmed labels the backmind layer. The camera hums.

    Francis quotes from memory:

    "Thus well instructed, to their work they hast,

    And coming where the knight in slomber lay,

    The one upon his hardy head him plast,

    And made him dream of loves and lustfull play,

    That nigh his manly heart did melt away,

    Bathed in wanton bliss and wicked joy…"

    Francis beams. How like your own career, sweet Alice. How many men have you haunted?

    Alice ignores this.

    On the stage behind them, in translucent and sketchy 3D workprint, the evil sorcerer Archimago leads the Red Cross Knight through dreams of dark chambers filled with writhing bodies in silken robes. Hanging tapestries are pulled aside by the incredulous Knight, who sees false Una’s flesh revealed in intimate posture with an equally false Spright made a Squire, Alice ignores most of this. What she and Minstrel will provide has little to do with the plot.

    Alice looks directly at Minstrel. As always, the angle of Minstrel’s dark brown eyes and the sharpness of his nose, the assurance of his professional smile, impresses her. They have real and reliable chemistry.

    You will always be the most beautiful woman on Earth, Minstrel murmurs to her, and she knows he means it. He prefers men, but Alice affects him as much as he affects her, reliably, predictably. If they lived together, their contradictions would burn them out in a year; but in this professional capacity, they’ve stretched their time.

    Francis is watching the camera, his Leni. She seems happy.

    What Alice feels first is the yearning warmth, not dissimilar to what a baby feels for its mother; she wishes to be closer. Minstrel touches her face with the back of his hand, stroking her cheek, holding this off. He responds as nearly all men respond to her, given a chance: she notes the flush on his chest, the close focus of his eyes, the beginning rise. Often, the rise amuses her; men seem off-balance when aroused, would topple like cranes without her support. But Minstrel’s rise is a delightful shock.

    The delicious pain of expectation meeting an inner self-doubt drops her back in the first sopping yet dry-mouthed experiments of youth (Love for sale, appetizing young love for sale— Billie Holiday singing Cole Porter), amazed at success and delighted by it.

    They kiss first, leaning forward to avoid other contact: soft-roughness of lips like nubbled silk, oily smoothness of tongues.

    Good, Francis says. He is recording none of the tactile, not of the surface; only the deep surge, the pulse of yearning from the sympathies, the letting down of vascular tensions by the parasympathies, the message of intense well-being issued by the judging amygdala; all of which Alice is aware of, but not conscious of.

    Her thighs seem large and obvious; she might topple too. I am all thighs. Minstrel wraps her, presses forearms against her back, then withdraws them until his fingers rub her ribs, just above the threshold of a tickle. Tongues plunge. For a moment this is too much and she breaks the kiss and noses the hollow of his neck, shuddering.

    Minstrel is not the most lovely and stimulating she has ever had, but she is so astonishingly consistent with him. Surprise, warmth, expectancy, and then the final salt: Minstrel prefers men. Alice has a special command, a leave he gives few other women, if any. She specks him with his male lovers, wonders whether she would have the same effect on them; likely not, doesn’t matter, the warm fantasy is well away now, sailing with courses full.

    They clasp tight from breasts to knees. He intrudes between her thighs and friction again becomes oily smoothness, but he does not press or angle. Minstrel knows her times and frequencies. He is an instinctive lover. She might shiver a muscle here, under his palm, and he adjusts the momentary mix of pressings and withdrawals to suit her as a horseman adjusts to his mount.

    The comparisons are becoming more and more basic, the sweetest and deepest of clichés. She will ride, float, flow, sit in the waves, feel the high warm sun; all images in her mind, most from past joins, some never real, all falling like drowsy rivers of fine hot sand down her spine.

    Why, Cuntia, he murmurs. So long lacking?

    Shh, she says into his ear. Their motion more pronounced. Francis forgotten, hooks ignored, though she makes sure not to rub the transponders loose as she brushes her temples against his chest. She disengages, though she wants him all within, wants to hide him, knows how to ramp her own surges by withholding. She rubs him down his stomach with her cheeks, lips, high sensual definition against the tight skin.

    Good, Francis says.

    Close-up, curls and the sweetly ugly rise, more beautiful than kittens; she adores him. Minstrel is all-valuable, all-honored; she suffers no disgrace by doing anything for him. She does not know what willingness he will take advantage of. Sometimes he assumes brusque anger, a delicate but dominant brutishness that toes a thin thread yet never goes beyond earnest play. But today Minstrel is infinitely gentle and this also falls within her range of surprise and expectancy.

    Wicked as Lucrezia, he says.

    His languor is reward enough for the minute she thinks she has. Sure enough, at the end of a minute, he takes her head between his palms and removes her, and she leans back on the stiff pallet, knowing she need do nothing but react, and that none too vigorously. Among the men she has had, the many hundreds of encounters long and short, professional and personal, Minstrel needs the least indication of her fulfilled desire. He already feels what she feels from the shivers and twitches of her knees and the texture of the skin of her hips and ribs and the muscles beneath.

    Good, Francis says.

    Under Labia’s disguise, Glans finds shy Clitoris, Minstrel whispers into her ear. His weight is a surge of southern air; his breath and sweat musk. She can smell his body, a whiff of zoo, nervous but not weak; this is the part she savors most, reaching a man’s deep concerns. After all their years, Minstrel wonders whether she will approve. Since she knows she will approve, his concern is a delight. Poor good men, all the good lovers, always this stretch of nerves before the partaking. A laugh even of delight might be misunderstood. Seconds pass before she shows anything other than complete and unquestioning acceptance.

    Good, Francis says. And…

    She clutches Minstrel, presses his butt down with her nails, feels the slipping entrance, sucks in him and an uneven breath, simultaneously.

    Francis quotes again:

    With sword in hand, and with the old man went;/ Who soon him brought unto a secret part;/ Where that false couple were full closely ment/ In wanton lust and lewd embracement;/ Which when he saw, he burnt with gealous fire,/ The eye of reason was with rage yblent,/ And would have slaine them in his furious ire,/ But hardly was restrained of that aged sire…

    Minstrel shudders.

    Enough. Cut.

    He holds, withdraws. Alice’s eyes dart around the stage. What? she says.

    Focus, Francis commands. Disappointment. You cannot have the Red Cross Knight. You are a Spright, a Succubus, not a true female. Everything you do is a false sin, never delight, always duty. Enough.

    Minstrel lies back, flushed. Alice wants to climb onto him but that would not be professional. Of all things in her life that would keep her from him, it is this isinglass membrane of her working self-respect.

    Francis monitors Leni, his eyes glazing over. Alice looks on the camera as a kind of dragon, a ravenous audience suspended in a line through all future time behind the camera’s many senses.

    Perfect, both of you, Francis says, returning and smiling. Good enough to earn a credit. Your followers will love this.

    Minstrel smiles back wearily. The muscles of his jaw tighten. The spell is broken and he is thinking of the sooty world.

    Minstrel leans over her. Glans would ask dear Cuntia to marry him, he says, but the pressures of royal life… you know how it is.

    Cuntia would accept, Alice replies.

    We shouldn’t leave this unfinished, Minstrel says.

    Alice is puzzled. No.

    Francis shouts for the stage to be cleared.

    But we have to. Minstrel smiles. Better for the next time.

    This is their third dry embrace in the past six months. They are nearly always in shadow, backmind layering now; never up front in the fulfilled lux.

    I’ll be waiting, Alice says, and Minstrel strokes her cheek before climbing the stairs to get dressed.

    Ahmed stares at her, flushed and awed.

    You’re new, aren’t you? Alice asks too sweetly. She puts on her robe and climbs the stairs after. At the top, she hears her pad chime in a loop of her street clothes. Minstrel is half-dressed. Times past, they might have finished their business up here, neither of them believing pent-up passion to be healthy, but she can see Minstrel’s heart and mind are elsewhere.

    The courtesies have fled. They’ve peaked and both know it.

    She pulls the small pad from her purse and takes the call. Alice here.

    I couldn’t leave a message or let our homes talk to each other. This is Twist.

    Twist is younger than Alice by six years but already a veteran. They met two years ago and took a quick liking to each other. Twist—if she calls at all—treats Alice as a kind of mother.

    Hello, Twist. I’m just getting off a plug for Francis.

    Something’s queer, Alice.

    What?

    I’m acting really queer. I need to see somebody.

    How queer?

    I’m obsessing all over the place, about David.

    Fuck artists, like most sex care workers, take on so many partners, Alice cannot immediately remember just who David is. She thinks they might have met once, at Twist’s apt in Ballard.

    I’m not a therapist, Twist.

    "I called my mother, Alice, Twist says. Before I called you. You know what that cost me?"

    Twist often hints at the monstrosity of her mother. Alice has taken it all with a few grains; even therapied, Twist never flows the straight pipe.

    Alice sits on a bench and crosses her legs. Minstrel gives her an exaggerated grimace and twinkle-wave with his fingers, picks up his bag. Alice watches him go with a small sharp sadness.

    All right, why not go straight to a therapist?

    Because David took me out of the agency, Twist says. I’m out of the payment grid. He was getting me jobs. He has connections.

    Ah, Alice says, suddenly remembering David. The David, Twist called him: a small, thin man with dark hair. Alice had instantly specked him as a scheming litter scrawn desperately trying to make up for being born a runt, always sure he had the answers. Twist adores him, hangs on his every reedy word.

    Well, I’m sure the agency— Alice begins.

    David won’t let me. He’s gone aggly, too.

    What do you mean?

    I feel like I felt when I began therapy. I was thirteen, Alice. I was a bad case, a real mess. It’s all back now, only worse. She gives a painful, nervous giggle. David says it must have never really took.

    Why don’t you come to my apt and let’s talk, Alice suggests. I can be there in half an hour—

    I don’t know that David will let me.

    Alice takes a deep breath. Some new fluffers are coming up the stairs. Francis is working overtime.

    "I do need to talk, Alice. Going to be home tomorrow?"

    Morning, yes.

    I’ll be there at ten. I’ll set up David with somebody. Cardy’s fuckish for him. Then I can get free for a couple of hours.

    Alice cringes. That word—Minstrel’s tetragrammaton—sounds too hard on Twist’s lips. Twist is like a little girl in so many ways. Alice realizes this is uncharacteristic; sex words hard or soft generally do not bother her, whatever her private opinions. She is darked by the scrim of others.

    I’ll see you in the morning, Alice says.

    Yeah. Love you, Alice.

    You too. She closes the link and stands among the four new fluffers, none of whom she knows. They all wear butterfly colors; they come from Sextras, now the top Yox temp agency for fuck artists. They smile at her; they know who she is. She used to be heat made flesh.

    She smiles back, polite and a little condescending, shakes a few hands, tongue-kisses one of the bold males, and then is down the stairs, where Ahmed still watches for her.

    The monstrosity of this technological era is indescribable. A man can carry armies of progeny within his testicles, none of them his own… some perhaps not purely human. A woman can bear within her unnatural artworks quickened by science and surely as soulless as stones. We sicken and despair. There is nothing of God in these machines and machine-men.

    The Mother Church has nothing to offer the time into which we have been born but a warning that sounds like a curse: As you sow, so shall you, reap!

    —Pope Alexander VII, 2043

    From: Anonymous Remailer

    To: Pope Alexander VII

    Date: December 24 2043

    You’re just a Catholic Dickhead, you know that? Come to my town (wouldn’t you like to know you shit) sometime and I’ll show you a GOOD TIME. Let your bodiguards know I’m about seven feet tall and dressed like the Demons in NUKEY NOOKY which I bet you’ve plaid too you asswipe hippocrit!!!!! Have a nice day!!!!!

    EMAIL Archive (ref Security Inv, Re: Thread = Encyclical 2043, Vatican Library> Cultural Tracking STAFF /INDA 332; reverse track through Finland> ANONYM REMAIL Code REROUTE> SWITZERLAND/ZIMBABWE> ACCT HDFinster> Harrison D. Finster ADDRESS 245 W. Blessoe Street Apt 3-H Greensboro, NC, USA. PROFILE> 27 years of age at time of message,> CONCLUSION: FLAME PROFILE No action necessary ref Vatican Internal Investigator comments: Young, shit for brains.)

    3

    Allostasis

    For Martin Burke, life has become anaspace, all motion but no engagement, no interaction, no sense of progress. And yet he is not unsuccessful.

    He moved from the combs of Southcoast two years ago. He had set himself up as a design consultant for miniature therapy monitors, microscopic implants that roamed freely in the body and brain, regulating balances and adjusting natural neurochemical concentrations. All of the delayed but no less painful publicity about his involvement with the mass-murderer and poet Emanuel Goldsmith had put an end to this new career; no corporation wanted to be associated with him after that, though they still license and manufacture from his patents.

    Since moving to Seattle, he has worked in special mental therapy, out of the third floor of an old, dignified building off Pioneer Square.

    Outside it is a rare cloudless winter morning, though at eight o’clock still dark. On the Southcoast of California, at the end of his last career, the sun had seemed inhumanly probing and constant. Martin had yearned for change, weather, clouds to hide under…

    Now he yearns for sun again.

    Strangely, away from California, the publicity has actually brought in new clients; but in balance, it also ended the love of his life. He has not seen or heard from Carol in a year, though he keeps in touch with his young daughter, Stephanie.

    Martin enters the round lobby and pushes open the door to his office, slinging his personal pad and purse onto their hooks on an antique coat rack. He has resisted the expense of installing a dattoo or skin pad, with circuitry and touches routed through mildly electrified skin, preferring instead a more old-fashioned implement, and keeping his body natural and inviolate into his forty-eighth year.

    His receptionist, Arnold, and assistant, Kim, greet him from their half-glass cubicle at the center of the lobby. Arnold is large and well-trained in both public relations and physical restraint. Kim, small and seemingly shy, is a powerhouse therapeutic psychology student with a minor in business relations. He hopes he can keep them working for him for at least the next year, before their agency fields better offers.

    Tucked out of sight, a year-old INDA sits quietly on a shelf overlooking the reception area, monitoring all that happens in the office’s five rooms.

    He prepares for the long day with a ten-minute staff meeting. He goes over patient requests for unscheduled visits. Tell Mrs. Danner I’ll see her at noon Friday, he instructs Arnold.

    I’m off that day, Arnold says. She’s a five-timer. Martin looks over Mrs. Danner’s record. She’s a five-time CTR—core therapy reject—with a long criminal record. Want me to be here?

    She’s not violent, Martin says. Klepto mostly, inclined to hurt herself and not others. Enjoy your day off.

    Martin has expanded his business by taking referrals from therapists who can’t handle their patients. After relieving himself of his own demon, he has a special touch with people who are still ridden.

    And Mr. Perkins—? Arnold asks.

    Martin makes a wry face. Kim smiles. Mr. Perkins is much less difficult than Mrs. Danner, but less pleasant to deal with. He is unable to establish lasting relations with people and relies on human-shaped arbeiters for company. Three previous therapists have been unsuccessful treating him, even with the most modern nano monitors and neuronal enhancement.

    Third request in a week, Martin says. I suppose he’s still having trouble resetting his prosthetute?

    The patient log floats before Arnold’s face like a small swarm of green insects. His wife, he calls her.

    He can’t bear to deactivate the old personality. That passes for kindness in him, I suppose. Martin smirks. I’ll see him Monday. So who’s up for this morning?

    You have Joseph Breedlove at nine and Avril de Johns at ten.

    Martin wrinkles his forehead in speculation. Neither Breedlove nor de Johns are difficult patients; they fall into that category of unhappy people who regard therapy as a replacement for real accomplishment. Therapy to date can only make the best of what is already available. I have an hour free at eleven?

    Of course.

    "Then all is in order. It’s eight-thirty now. I have a

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