The Hyperion Cantos 4-Book Bundle (115 page)

I nodded, sure that I had never met this man, never visited this place.

“Three years, no? At least three years! My, how time flies.” The little man’s voice was little more than a whisper—the hushed tones of someone who has spent most of his life in libraries—but there was no denying the undertone of excitement there. “I’m sure you would like to go straight to the collection,” he said, standing aside as if to let me pass.

“Yes,” I said, bowing slightly. “But after you.”

The little man—I was almost sure that he was an archivist—seemed pleased to be leading the way. He chatted aimlessly about new acquisitions, recent appraisals, and visits of Web scholars as we walked through chamber after chamber of books: high, multitiered vaults of books, intimate, mahogany-lined corridors of books, vast chambers where our footfalls echoed off distant walls of books. I saw no one else during the walk.

We crossed a tiled walkway with wrought-iron railings above a sunken pool of books where deep blue containment fields protected scrolls, parchments, crumbling maps, illuminated manuscripts, and ancient comic books from the ravages of atmosphere. The archivist opened a low door, thicker than most airlock entrances, and we were in a small, windowless room wherein thick drapes half-concealed alcoves lined with ancient volumes. A single leather chair sat on a pre-Hegira Persian carpet, and a glass case held a few scraps of vacuum-pressed parchment.

“Do you plan to publish soon, sir?” asked the little man.

“What?” I turned away from the case. “Oh … no,” I said.

The archivist touched his chin with a small fist. “You’ll pardon me for saying so, sir, but it is a terrible waste if you do not. Even in our
few discussions over the years, it has become apparent that you are one of the finest … if not
the
finest … Keats scholars in the Web.” He sighed and took a step back. “Excuse me for saying so, sir.”

I stared at him. “That’s all right,” I said, suddenly knowing very well who he thought I was and why that person had come here.

“You’ll wish to be left alone, sir.”

“If you don’t mind.”

The archivist bowed slightly and backed out of the room, closing the thick door all but a crack. The only light came from three subtle lamps recessed in the ceiling: perfect for reading, but not so bright as to compromise the cathedral quality of the little room. The only sound came from the archivist’s receding footsteps far away. I walked to the case and set my hands on the edges, careful not to smudge the glass.

The first Keats retrieval cybrid, “Johnny,” obviously had come here frequently during his few years of life in the Web. Now I remembered mention of a library somewhere on Renaissance V in something Brawne Lamia had said. She had followed her client and lover here early in the investigation of his “death.” Later, after he had truly been killed except for the recorded persona in her Schrön loop, she had visited this place. She had told the others of two poems the first cybrid had visited daily in his ongoing effort to understand his own reason for existence … and for dying.

These two original manuscripts were in the case. The first was—I thought—a rather saccharine love poem beginning “
The day is gone, and all its sweets are gone!
” The second was better, although contaminated with the romantic morbidity of an overly romantic and morbid age:

Brawne Lamia had taken this as almost a personal message from her dead lover, the father of her unborn child. I stared at the parchment, lowering my face so that my breath gently fogged the glass.

It was not a message across time to Brawne, nor even a contemporary lament for Fanny, my single and dearest soul’s desire. I stared at the faded words—the handwriting carefully executed, the letters still quite legible across the gulfs of time and language evolution—and remembered writing them in December 1819, scrawling this fragment of verse on a page of the satirical “faery tale” I had just started—
The Cap and Bells, or, The Jealousies
. A terrible piece of nonsense, quite properly abandoned after the period of slight amusement it gave me.

The “This living hand” fragment had been one of those poetic rhythms which echoes like an unresolved chord in the mind, driving one to see it in ink, on paper. It, in turn, had been an echo of an earlier, unsatisfactory line … the eighteenth, I believe … in my second attempt to tell the tale of the sun god Hyperion’s fall. I remember that the first version … the one undoubtedly still printed wherever my literary bones are left out on show like the mummified remains of some inadvertent saint, sunk in concrete and glass below the altar of literature … the first version had read:

I liked the scrawled version, with its sense of haunting and of being haunted, and would have substituted it for “When this warm scribe my hand …” even if it meant revising it a bit and adding fourteen lines to the already too-long opening passage of the first Canto.…

I staggered backward to the chair and sat, lowering my face to my hands. I was sobbing. I did not know why. I could not quit.

For a long while after the tears ceased flowing, I sat there, thinking, remembering. Once, it may have been hours later, I heard the echo of footsteps coming from afar, pausing respectfully outside my small room, and then dwindling to distance once again.

I realized that all of the books in all of the alcoves were works of “Mister John Keats, five feet high,” as I had once written—John Keats,
the consumptive poet who had asked only that his tomb be nameless except for the inscription:

I did not stand to look at the books, to read them. I did not have to.

Alone in the stillness and leather-and-aged-paper musk of the library, alone in my sanctuary of self and not-self, I closed my eyes. I did not sleep. I dreamed.

THIRTY-THREE

The datumplane analog of Brawne Lamia and her retrieval persona lover strike the surface of the megasphere like two cliff divers striking the surface of a turbulent sea. There is a quasi-electrical shock, a sense of having passed through a resisting membrane, and they are
inside
, the stars are gone, and Brawne’s eyes widen as she stares at an information environment infinitely more complex than any datasphere.

The dataspheres traveled by human operators are often compared to complex cities of information: towers of corporate and government data, highways of process flow, broad avenues of datumplane interaction, subways of restricted travel, high walls of security ice with microphage guards on prowl, and the visible analog of every microwave flow and counterflow a city lives by.

This is more. Much more.

The usual datasphere city analogs are there, but small, so very small, as dwarfed by the scope of the megasphere as true cities would be on a world seen from orbit.

The megasphere, Brawne sees, is as alive and interactive as the biosphere of any Class Five world: forests of green-gray data trees grow and prosper, sending out new roots and branches and shoots even as she watches; beneath the forest proper, entire microecologies of dataflow and subroutine AIs flourish, flower, and die as their usefulness ends; beneath the shifting ocean-fluid soil of the matrix proper, a busy subterranean life of data moles, commlink worms, reprograming bacteria, data tree roots, and Strange Loop seeds works away, while above, in and through and beneath the intertwining forest of fact and interaction, analogs of predators and prey carry out their cryptic duties, swooping
and running, climbing and pouncing, some soaring free through the great spaces between branch synapses and neuron leaves.

As quickly as the metaphor gives meaning to what Brawne is seeing, the image flees, leaving behind only the overwhelming analog reality of the megasphere—a vast internal ocean of light and sound and branching connections, intershot with the spinning whirlpools of AI consciousness and the ominous black holes of farcaster connections. Brawne feels vertigo claim her, and she clings to Johnny’s hand as tightly as a drowning woman would cling to a life ring.

—
It’s all right
, sends Johnny. I
won’t let go. Stay with me
.

—
Where are we going?

—To
find someone I’d forgotten
.

—
??????

—
My
 … 
father …

Brawne holds fast as she and Johnny seem to glide deeper into the amorphous depths. They enter a flowing, crimson avenue of sealed datacarriers, and she imagines that this is what a red corpuscle sees in its trip through some crowded blood vessel.

Johnny seems to know the way; twice they exit the main thoroughfare to follow some smaller branch, and many times Johnny must choose between bifurcating avenues. He does so easily, moving their body analogs between platelet carriers the size of small spacecraft. Brawne tries to see the biosphere metaphor again, but here, inside the many-routed branches, she can’t see the forest for the trees.

They are swept through an area where AIs communicate above them … 
around
them … like great, gray eminences looming over a busy ant farm. Brawne remembers her mother’s homeworld of Freeholm, the billiard-table smoothness of the Great Steppe, where the family estate sat alone on ten million acres of short grass … Brawne remembers the terrible autumn storms there, when she had stood at the edge of the estate grounds, just beyond the protective containment held bubble, and watched dark stratocumulus pile twenty kilometers high in a blood-red sky, violence accumulating with a power that had made the hair on her forearms stand out in anticipation of lightning bolts the size of cities, tornadoes writhing and dropping down like the Medusa locks they were named after, and behind the twisters, walls of black wind which would obliterate everything in their path.

The AIs are worse. Brawne feels less than insignificant in their shadow: insignifigance might offer invisibility; she feels all too visible, all too much a part of these shapeless giants’ terrible perceptions…

Johnny squeezes her hand, and they are past, twisting left and downward along a busier branch, then switching directions again, and again, two all-too-conscious photons lost in a tangle of fiberoptic cables.

But Johnny is not lost. He presses her hand, takes a final turn into a deep blue cavern free of traffic except for the two of them, and pulls her closer as their speed increases, synaptic junctions flashing past until they blur, only the absence of wind rush destroying the illusion of traveling some mad highway at supersonic speeds.

Suddenly there comes a sound like waterfalls converging, like levitating trains losing their lift and screeching down railways at obscene speeds. Brawne thinks of the Freeholm tornadoes again, of listening to the Medusa locks roaring and tearing their way across the flat landscape toward her, and then she and Johnny are in a whirlpool of light and noise and sensation, two insects twisting away into oblivion toward a black vortex below.

Brawne tries to scream her thoughts—
does
scream her thoughts—but no communication is possible above the end-of-the-universe mental din, so she holds tight to Johnny’s hand and trusts him, even as they fall forever into that black cyclone, even as her body analog twists and deforms from nightmare pressures, shredding like lace before a scythe, until all that is left are her thoughts, her sense of self, and the contact with Johnny.