The City & the City (43 page)
“I’m going to show you a bunch of the places we work,” he said lamely. “Any questions, you can ask me at the end: we’re a little bit time constrained. Let’s get the tour done first.”
No curator or researcher was obliged to perform this guide work. But many did. Billy no longer grumbled when it was his turn.
They went out and through the garden, approaching the Darwin with a building site on one side and the brick filigrees of the Natural History Museum on the other.
“No photos, please,” Billy said. He did not care if they obeyed: his obligation was to repeat the rule. “This building here opened in two thousand two,” he said. “And you can see we’re expanding. We’ll have a new building in two thousand eight. We’ve got seven floors of wet specimens in the Darwin Centre. That means stuff in formalin.”
Everyday hallways led to a stench. “Jesus,” someone muttered.
“Indeed,” said Billy. “This is called the dermestarium.” Through interior windows there were steel containers like little coffins. “This is where we clean up skeletons. Get rid of all the gunk on them.
Dermestes maculatus
.”
A computer screen by the boxes was showing some disgusting salty-looking fish being eaten by insect swarms. “Eeurgh,” someone said.
“There’s a camera in the box,” said Billy. “Hide beetles is their English name. They go through everything, just leave bones behind.”
The boy grinned and tugged his father’s hand. The rest of the group smiled, embarrassed. Flesh-eating bugs: sometimes life really was a B-movie.
Billy noticed one of the young men. He wore a past-it suit, a shabby-genteel outfit odd for someone so young. He wore a pin on his lapel, a design like a long-armed asterisk, two of the spokes ending in curls. The man was taking notes. He was filling the pad he carried at a great rate.
A taxonomiser by inclination as well as by profession, Billy had decided there were not so many kinds of people who took this tour. There were children: mostly young boys, shy and beside themselves with excitement, and vastly knowledgeable about what they saw. There were their parents. There were sheepish people in their twenties, as geeky-eager as the kids. There were their girlfriends and boyfriends, performing patience. A few tourists on an unusual byway.
And there were the obsessives.
They were the only people who knew more than the young children. Sometimes they did not speak: sometimes they would interrupt Billy’s explanations with too-loud questions, or correct him on scientific detail with exhausting fussy anxiety. He had noticed more of such visitors than usual in the last several weeks.
“It’s like late summer brings out the weirdos,” Billy had said to his friend Leon, a few nights back, as they drank at a Thames pub. “Someone came in all Starfleet badges today. Not on my shift, sadly.”
“Fascist,” Leon had said. “Why are you so prejudiced against nerds?”
“Please,” Billy said. “That would be a bit self-hating, wouldn’t it?”
“Yeah, but you pass. You’re like, you’re in deep cover,” Leon said. “You can sneak out of the nerd ghetto and hide the badge and bring back food and clothes and word of the outside world.”
“Mmm, tasteful.”
“Alright,” Billy said as colleagues passed him. “Kath,” he said to an ichthyologist, “Brendan,” to another curator, who answered him, “Alright Tubular?”
“Onward please,” said Billy. “And don’t worry, we’re getting to the good stuff.”
Tubular?
Billy could see one or two of his escortees wondering if they had misheard.
The nickname resulted from a drinking session in Liverpool with colleagues, back in his first year at the centre. It was the annual conference of the Professional Curatorial Society. After a day of talks on methodologies and histories of preservation, on museum schemes and the politics of display, the evening’s wind down had started with polite how-did-you-get-into-this?, turned into everyone at the bar one by one talking about their childhoods, these meanderings, in boozy turn, becoming a session of what someone had christened Biography Bluff. Everyone had to cite some supposedly extravagant fact about themselves—they once ate a slug, they’d been part of a foursome, they tried to burn their school down, and so on—the truth of which the others would then brayingly debate.
Billy had straight faced claimed that he had been the result of the world’s first-ever successful
in vitro
fertilisation, but that he had been disavowed by the laboratory because of internal politics and a question mark over issues of consent, which was why the official laurel had gone to someone else a few months after his birth. Interrogated about details, he had with drunken effortlessness named doctors, the location, a minor complication of the procedure. But before bets were made and his reveal, the conversation had taken a sudden turn and the game had been abandoned. It was two days later, back in London, before a labmate asked him if it were true.
“Absolutely,” Billy had said, in an expressionless teasing way that meant either “of course”, or “of course not”. He had stuck by that response since. Though he doubted anyone believed him, the nickname “Test-tube” and variants were still used.
They passed another guard, a big, truculent man, all shaved head and muscular fatness. He was some years older than Billy, named Dane Something, from what Billy had overheard. Billy nodded and tried to meet his eyes, as he always did. Dane Whatever, as he always did, ignored the little greeting, to Billy’s disproportionate resentment.
As the door swung shut, though, Billy saw Dane acknowledge someone else. The guard nodded momentarily at the intense young man with the lapel pin, the obsessive, whose eyes flickered in the briefest response. Billy saw that, and just before the door closed between them Billy saw Dane see him looking.
Dane’s acquaintance did not meet his eyes. “You feel it get cool?” Billy said, shaking his head. He sped them through time-release doors. “To stop evaporation. We have to be careful about fire. Because, you know, there’s a fair old bit of alcohol in here, so …” With his hands he made a soft explosion.
The visitors stopped still. They were in a specimen maze. Ranked intricacies. Kilometres of shelves and jars. In each was a motionless floating animal. Even sound sounded bottled suddenly, as if something had put a lid on it all.
The specimens mindlessly concentrated, some posing with their own colourless guts. Flatfish in browning tanks. Jars of huddled mice gone sepia, grotesque mouthfuls like pickled onions. There were sports with excess limbs, foetuses in arcane shapes. They were as carefully shelved as books. “See?” Billy said.
One more door and they would be with what they were there to see. Billy knew from repeated experience how this would go.
When they entered the tank room, the chamber at the heart of the Darwin Centre, he would give the visitors a moment without prattle. The big room was walled with more shelves. There were hundreds more bottles, from those chest high down to those the size of a glass of water. All of them contained lugubrious animal faces. It was a Linnaean décor; species clined into each other. There were steel bins, pulleys that hung like vines. No one would notice. Everyone would be staring at the great tank in the centre of the room.
This was what they came for, that pinkly enormous thing. For all its immobility; the wounds of its slow-motion decay, the scabbing that clouded its solution; despite its eyes being shrivelled and lost; its sick colour; despite the twist in its skein of limbs, as if it were being wrung out. For all that, it was what they were there for.
It would hang, an absurdly massive tentacled sepia event.
Architeuthis Dux
. The giant squid.
ABOUT THE AUTHOR
CHINA MIÉVILLE is the author
of King Rat; Perdido Street Station
, winner of the Arthur C. Clarke Award and the British Fantasy Award;
The Scar
, winner of the Locus Award and the British Fantasy Award;
Iron Council
, winner of the Locus Award and the Arthur C. Clarke Award;
Looking for Jake
, a collection of short stories; and
Un Lun Dun
, his
New York Times
best-selling book for younger readers. He lives and works in London.
The City & The City
is a work of fiction. Names, characters, places, and incidents are the products of the author’s imagination or are used fictitiously. Any resemblance to actual events, locales, or persons, living or dead, is entirely coincidental.
Copyright © 2009 by China Miéville
Reading group guide copyright 2010 by Random House, Inc.
Excerpt from Kraken copyright 2010 by China Mieville.
All rights reserved.
Published in the United States by Del Rey, an imprint of The Random House
Publishing Group, a division of Random House, Inc., New York.
DEL REY is a registered trademark and the Del Rey colophon
is a trademark of Random House, Inc.
Random House Reader’s Circle and Design is a registered trademark of Random House, Inc.
This book contains an excerpt from the forthcoming book Kraken. This excerpt has been set for this edition only and may not reflect the final content of the forthcoming edition.
eISBN: 978-0-345-51566-7
v3.0_r1
