Architects of Emortality (30 page)

“Everyone fails, but there is no shame in failure, provided that you have set your sights widely enough. The human condition has its limitations, and always will have. Even if the genetic engineers are right in claiming that they have at last brought the human race to the very threshold of emortality, and even if the prophets of man/machine symbiosis are right in saying that the fallibility of human memory can be compensated by appropriate augmentation of the brain, there will still be limitations of understanding. A man may live forever, and remember everything, and still understand hardly anything. It is as easy—perhaps easier—to breed a race of immortal fools as a race of mental giants. The majority of men have always made fools of themselves, and the vidveg will undoubtedly continue to do so, however long they live and whatever ingenious devices may one day be connected by artificial synapses to the substance of their souls.” Julia had listened to such speeches very dutifully, in the beginning, and that had pleased him immensely—but their friendship was not based in anything as shallow as adulation. He was not in love with her; erotic orthodoxy had long ago begun to bore him, and he had never felt the least impulse to reinvest in it when the many and various unorthodoxies with which he had briefly experimented had similarly begun to pall. In fact, since becoming young for the third time Stuart had experienced a dramatic loss of libido which he had not the slightest interest in repairing. He felt—he understood— that there might be advantages in being old, to one who was as cerebrally inclined as he. Nor was he particularly flattered by Julia’s attentiveness; he had been an educator for so very many years that he drank up the respect of pupils by sheer force of habit, not tasting it at all. If she had been more to him than a mere sounding board, which reflected his thoughts in a pleasing manner, he could not have felt as close to her as he did. He valued her disagreement as much as her agreement now; he loved to exchange ideas with her. He needed someone like her, who would not merely listen to his ideas but challenge them, playing white to his black in an endless game of intellectual chess.

Ideas were healthier when they were challenged; kept inside, in the dark and secret theater of the mind, protected from exposure, they did not nourish half so well. If ideas were to grow—and thus give birth to understanding—they must be let out, and tested.

“Will you stay for dinner?” he asked his companion. “We can eat on the veranda, if you wish. It’s going to be a beautiful evening.” “Of course,” she said. “But I don’t know how long I can stay afterward. There’s something I have to do—I have to go to one of the other islands.” “Which one?” he asked reflexively.

“One of the new ones. I have to visit a Creationist.” “Why? I didn’t think they encouraged visitors.” When it became clear that she did not intend to answer the question, he carried on. “You’ll have to be careful—you must have heard the rumors about dinosaurs and giant spiders, and the jokes about the Island of Dr. Moreau. How long will you be away?” “I don’t know,” she said. “It depends.” It occurred to Stuart that Walter Czastka was a Creationist, and that Walter Czastka had been at the University of Wollongong in 2322—and that he had once walked on a beach with him, much as he was walking with Julia now, discussing some project that Walter had dreamed up. Walter had wanted his help… but Stuart could no longer remember exactly what it was that Walter had wanted from him, or whether or not he had obliged.

It was on the tip of his tongue to ask Julia whether it was Walter Czastka that she intended to visit, and what she could possibly want with a man like him, but he suppressed the impulse. It would probably seem like prying motivated by jealousy.

“I’m glad that I retired here,” he said, glancing briefly upward in the direction of the blazing sun, then more languorously downward at the glints that its light imparted to the crests of the lazy waves. “The heat suits me, now that I’m growing old for the final time, and I can’t see the twenty-sixth century creeping up on me. There was never any but the most rudimentary agriculture here, you know, not even in the Colonial Era. The volcanoes are tame now, of course, and the bigger islands in the group were badly affected by the population movements following the plague wars, but Kauai’s seen less change than almost any other place on the earth’s surface since the beginning of the twenty-second century.” “But it’s not the same, even so,” Julia pointed out. “Every time you step, indoors, it must be obvious that you’re living in the present—and you’re entirely a product of the present. There were no men of your antiquity in the twenty-second century.” “Granted,” he said. “But still, I’d far rather live beside the blue sea than the green, and I could never be content in a valley between SAP black hills. I can still remember the days before the green seas and black hills, you know; I think my memory has held up better than most, in spite of the unease of illusory deja vu. Sometimes I’m half-convinced that I’ve known you before, in the long-gone days of my first youth… but I understand how these tricks of the mind work. In these days of cosmetic engineering, when everyone is beautiful, it’s easy to recognize in the woman one sees today some or all of the women one knew many years before, who are simply phantoms imprinted on the vanishing horizon of remembrance…” He trailed off because they had reached the threshold of his home: a place at which he always hesitated.

Although he could not bring himself to entertain the thought, let alone believe it, Stuart McCandless was fated to die very soon.

It was likely that nothing could have saved him—certainly not a better memory.

What he took for an illusion of similarity was indeed an illusion, because he had recently been shown a better likeness of his darling Julia than ancient memory could possibly have preserved, and had not recognized it.

Sometimes victims collaborate in their own murders, even when they have been warned of danger—and why should they not, if they believe that murder and art are mere expressions of historical process, deft feints, and thrusts of causality? If idiosyncrasy, madness, and genius are no more than tiny waves on a great sullen tide of irresistible causality, even a man forewarned can hardly be expected to defy their force. Stuart McCandless certainly did nothing to avoid his fate, even when the second and far more explicit warning arrived. He simply could not imagine that his pupil could be anything but what she seemed or anyone but who she pretended to be. He was old, and he was complacent. He knew that he was fated to die, but he carried in his consciousness that remarkable will to survive that refuses to recognize death even while it stares death in the face.

Nor was he a fool; he was probably as knowledgeable a historian as there was in the world, and as wise a lover.

If those who tried to warn him had been able to explain to him exactly why he was being murdered, he would have laughed aloud in flagrant disbelief. Like the vidveg he affected to despise, and in spite of his claustrophobia, he was a man whose imaginative horizons were narrower than he knew or could ever have admitted to himself.

The sun was setting by the time Charlotte and her companions emerged into the open; it remained visible solely because its decline had taken it into the cleft of a gap between two spiry crags.

The car had gone.

Charlotte felt her hand tighten around the bubblebugs which she had carefully removed from their stations above her eyebrows. She had been holding them at the ready, anxious to plug them into the car’s systems so that their data could be decanted and relayed back to Hal Watson.

She murmured a curse. Michael Lowenthal’s exclamation of distress was even louder—and the man from the MegaMall immediately reached for his handset, moving to one side to call for assistance.

Charlotte took out her beltphone and tried to send a signal, although the charge indicator suggested that the battery no longer had enough muscle to reach a relay station or a convenient comsat. Nothing happened. She muttered another curse beneath her breath, and then she turned back to Oscar Wilde.

“I should have…” she began—but she trailed off when she realized that she didn’t know exactly what she should have done, or even what she might have done.

“Don’t worry,” said Wilde. “I doubt that Rappaccini brought us up here simply to abandon us. I suspect that a vehicle of some kind will be along very shortly to carry us on our way.” “Where to?” she asked, unable to keep the asperity out of her voice.

“I don’t know for certain,” he said, “but I would hazard a guess that our route will be westward. We might have one more port of call en route, but our final destination will surely be the island where Walter Czastka is playing God. He is to be the final victim, and his death is presumably intended to form the climactic scene of this perfervid drama.” “We have to warn him,” said Charlotte. “And we have to identify the fifth man too. If the car were here…” “Walter has already had a warning of sorts,” said Oscar ruminatively. “If Hal has been able to contact him with the news that he may be Rappaccini’s father…” He left the sentence dangling.

“Let’s hope it’s not too late to tell him that we now have clear evidence of Rappaccini’s intention to kill him,” said Charlotte, “and let’s hope the fifth man is still alive when we get a chance to find out who he is. He may be dead already, of course, like Kwiatek and Teidemann. Your ghoulish friend displayed his victims in the order in which their bodies were discovered, not the order in which they were killed.” “He was never my friend,” Oscar objected, seemingly more than a little disturbed by what he had just witnessed, “and I am not at all sure that I can approve of his determination to involve me in all this.” “You should have challenged him about Czastka.” Michael Lowenthal put in, having despaired of making his own call heard. “You should have told him that we’ve discovered that Czastka’s his father.” “It was only a sim,” Wilde reminded him. “It could not have been startled or tricked into telling us anything it was not primed to tell us. In any case, if the DNA evidence can be trusted, Rappaccini must already know that Walter is his father, even if Walter has not the slightest idea that Rappaccini is his son. As Charlotte pointed out, Rappaccini knew enough to create a modified clone of his mother—a very special stepdaughter—and he must have done so with his present purpose in mind. We must concentrate our attention on the questions I did ask, especially the one to which I received two different but equally enigmatic answers.” “Timing,” said Charlotte, to show that she was now able to keep up. “The sim said that it is your birthday—by which it must mean your third rejuvenation. Is that what triggered this bizarre charade?” “That was the second response,” Wilde pointed out. “It required a repetition of the cue to elicit it, it was markedly different in tone from the other speeches delivered by the sim, and it was the last thing it said before shutting down.

The comment had all the hallmarks of an afterthought—a belated addition to the program. Rappaccini must have known for years approximately when I would attempt my third rejuve, but he can only have known the exact date of my release from the hospital for eight or ten weeks—three months at the most. The real answer to the question must somehow be contained in the earlier and much more circuitous speech.” “How much of that did you actually understand?” she asked him. “I recognized the characters, but a lot of what the Herod effigy said went over my head.” “I understood most of the references,” Oscar said, “if only because so many of them were to works by my ancient namesake—but the meaning hidden between the lines was by no means obvious even to me. There was meaning in it, though—meaning that I am intended to divine, given time. The setting was, of course, an elaboration of one of Gustave Moreau’s paintings of Salome’s dance, and Rappaccini’s Herod made several oblique references to Wilde’s essays, including ‘The Decay of Lying’ and ‘Pen, Pencil and Poison.’ ” Charlotte knew that she had heard the second title before, and was very eager to show that she was still at least one step ahead of Michael Lowenthal. “That’s the one which refers to the Wainewright character Hal listed among Rappaccini’s other pseudonyms,” she said.

“That’s right. My namesake argued there, not without a certain macabre levity, that the fact that Wainewright had been a forger and a murderer should not blind critics to the virtues of his work as a literary scholar. Indeed, the essay suggests that Wainewright’s fondness for subtle murder—he was apparently a poisoner of some dexterity and skill—might be regarded as evidence of his wholeness as a person, and might provide better grounds for critical praise than his admittedly second-rate writings. The argument is not as original as it may seem—as I mentioned when the name first came up, De Quincey had earlier written an essay called ‘Murder Considered as One of the Fine Arts.’ The relevance of the argument to the present case is abundantly clear, I think; Rappaccini obviously regards his murders as phases in the construction of a work of art and considers them at least as estimable as his ingenious funeral wreaths. He is asking me—although I doubt that he can seriously expect me to comply—to look at them admiringly, in the same light.” Charlotte was tempted to observe that Wilde had seemed hitherto to be complying with some enthusiasm, but she could see that there was more to come and felt obliged to give explanation priority over sarcasm. “What else?” she asked, instead.

“In ‘The Decay of Lying,’ my namesake laments the dominance of realism in the artwork of his own day. He argues—again, rather flippantly—that there is no virtue at all in fidelity of representation, and that the glory of art lies in its unfettered inventiveness. Art, he argues, should not endeavor to be truthful or useful, nor should it limit itself to the kinds of petty deception which are committed by vulgar everyday liars—salesmen and politicians. He proposes that art should lie with all the extravagance and grandiosity of which the human imagination is capable. That is why Rappaccini asked me to judge him as a true liar. But the word decay is also very significant, and you will doubtless recall that the simulation said that I, of all people, should understand the world’s decadence. That, I think, is a subtler—” He broke off as Charlotte suddenly turned away, looking up into the sky. While Oscar had been speaking, his words had gradually been overlaid by another sound, whose clamor was by now too insistent to be ignored. Its monotonous drone threatened to drown him out entirely.