The World Inside

  “God bless,” he says. “I've missed you so much."

  The day is at hand, and she has paid her farewells. She has had two months to say good-bye, first to her blood kin, then to her friends in her village, then to others whom she has known within Chicago, and at last to Siegmund and Mamelon Kluver, her only acquaintances outside her native city. She has rewound her past into a tight coil. She has revisited the home of her parents and her old schoolroom, and she has even taken a tour of the urbmon, like a visitor from outbuilding, so that she may see the power plant and the service core and the conversion stations one final time.

  Meanwhile Memnon has been busy too. Each night he reports to her on that day's accomplishments. The 5,202 citizens of Urban Monad 116 who are destined to transfer to the new structure have elected twelve delegates to the steering committee of Urbmon 158, and Memnon is one of the twelve. It is a great honor. Night after night the delegates take part in a multiscreen linkage embracing all of Chipitts, so that they can plan the social framework of the building they are going to share. It has been decided, Memnon tells her, to have fifty cities of twenty floors apiece, and to name the cities not after the vanished cities of old Earth, as has been the general custom, but rather after distinguished men of the past: Newton, Einstein, Plato, Galileo, and so forth. Memnon will be given responsibility for an entire sector of heat-diffusion engineers. It will be administrative rather than technical work, and so he and Aurea will live in Newton, the highest city.

  Memnon expands and throbs with increased importance. He cannot wait for the hour of transfer to arrive. “We'll be really influential people,” he tells Aurea exultantly. “And in ten or fifteen years we'll be legendary figures in 158. The first settlers. The founders, the pioneers. They'll be making up ballads about us in another century or so."

  “And I was unwilling to go,” Aurea says mildly. “How strange to think of myself acting like that!"

  “It's an error to react with fear until you perceive the true shape of things,” Memnon replies. “The ancients thought it would be a calamity to have as many as 5,000,000,000 people in the world. Yet we have fifteen times as much and look how happy we are!"

  “Yes. Very happy. And we'll always be happy, Memnon."

  The signal comes. The machines are at the door to fetch them. Memnon indicates the box that contains their few possessions. Aurea glows. She glances about the dorm, astonished by the crowdedness of it, the crush of couples in so little space. We will have our own room in 158, she reminds herself.

  Those members of the dorm who are not leaving form a line, and offer Memnon and Aurea one final embrace.

  Memnon follows the machines out, and Aurea follows Memnon. They go up to the landing stage on the thousandth floor. It is an hour past dawn and summer sunlight gleams in shining splotches on the tips of Chipitts’ towers. The transfer operation has already begun; quickboats capable of carrying 100 passengers each will be moving back and forth between Urbmons 116 and 158 all day.

  “And so we leave this place,” Memnon says. “We begin a new life. Bless god!"

  “God bless!” cries Aurea.

  They enter the quickboat and it soars aloft. The pioneers bound for Urbmon 158 gasp as they see, for the first time, how their world really looks from above. The towers are beautiful, Aurea realizes. They glisten. On and on they stretch, fifty-one of them, like a ring of upraised spears in a broad green carpet. She is very happy. Memnon folds his hand over hers. She wonders how she could ever have feared this day. She wishes she could apologize to the universe for her foolishness.

  She lets her free hand rest lightly on the curve of her belly. New life now sprouts within her. Each moment the cells divide and the little one grows. They have dated the hour of conception to the evening of the day when she was discharged by the consoler's office. Conflict indeed sterilizes, Aurea has realized. Now the poison of negativeness has been drained from her; she is able to fulfill a woman's proper destiny.

  “It'll be so different,” she says to Memnon, “living in such an empty building. Only 250,000! How long will it take for us to fill it?"

  “Twelve or thirteen years,” he answers. “We'll have few deaths, because we're all young. And lots of births."

  She laughs. “Good. I hate an empty house."

  The quickboat's voice says, “We now will turn to the southeast, and on the left to the rear you can catch a last glimpse of Urbmon 116."

  Her fellow passengers strain to see. Aurea does not make the effort. Urbmon 116 has ceased to concern her.

  * * *

  THREE

  They are playing tonight in Rome, in the spishy new sonic center on the 530th level. Dillon Chrimes hasn't been that far up in the building in weeks. Lately he and the group have been doing the grime stint: Reykjavik, Prague, Warsaw, down among the grubbos. Well, they're entitled to some entertainment too. Dillon lives in San Francisco, not so lofty himself. The 370th floor; the heart of the cultural ghetto. But he doesn't mind that. He isn't deprived of variety. He gets around, everywhere from the bottom to the top in the course of a year, and it's only a statistical anomaly that it's been nothing but bottoms up for a while. The odds are he'll be blowing Shanghai, Chicago, Edinburgh, that crowd, in the month to come. With all those clean long-limbed lovelies to spread for him after the show.

  Dillon is seventeen. More than middle height, with silken blond hair to his shoulders. Traditional, the old Orpheus bit. Crystalline blue eyes. He loves staring at them in a round of polymirrors, seeing the icy spheres intersect. Happily married, and three littles already, god bless! His wife's name is Electra. She paints psychedelic tapestries. Sometimes she accompanies him when he's touring with the group, but not often. Not now. He has met only one woman who lights him nearly as much. A Shanghai slicko, wife of some Louisville-bound headknocker. Mamelon Kluver, her name. The other girls of the Urbmon are just so many slots, Dillon often thinks, but Mamelon connects. He has never told Electra about her. Jealousy sterilizes.

  He plays the vibrastar in a cosmos group. That makes him valuable personnel. “I'm unique, like a flow-sculpture,” he sometimes boasts. Actually there's another vibrastar man in the building, but to be one out of merely two is still a decent accomplishment. There are only two cosmos groups in Urbmon 116; the building can't really afford much redundancy in its entertainers. Dillon doesn't think highly of the rival group, though his opinion is based more on prejudice than familiarity—he's heard them three times, is all. There's been talk of getting both groups together for an all-out headblaster of a joint concert, perhaps in Louisville, but no one takes such teasers seriously. Meanwhile they go their separately programed ways, moving up and down through the Urbmon as the spiritual weather dictates. The usual gig is five nights in a city. That allows everybody in, say, Bombay, who stones on cosmos groups to see them the same week, thereby providing conversation fodder for the general sharing. Then they move along, and, counting nights off, they theoretically can make the circuit of the whole building every six months. But sometimes gigs are extended. Do the lower levels need excesses of bread and circuses? The group may be handed fourteen nights running in Warsaw, then. Do the upper levels need psychic deconstipation in a big way? A twelve-night run in Chicago, maybe. Or the group itself may go sour and have to get its filters reamed, necessitating a layoff of two weeks or more. Allowing for all of these factors, there have to be two groups roaming the Urbmon if every city is going to get a crack at a cosmos show at least once a year. Right now, Dillon thinks, the other operation is playing Boston for the third week. Some kind of problem with sexual turnoffs there, of all wildnesses!

  He wakes at noon. Electra loyally beside him; the littles long gone to school, except for the baby, gurgling in its maintenance slot. Artists and performers keep their own hours. Her lips touch his. A torrent of fiery hair across his face. Her hand at his loins, wandering, grasping. Fingertips playfully rimming him. “Love me?” she sings. “Love me not? Love me? Love me not?"

  “You medieval w
itch."

  “You look so pretty when you sleep, Dill. The long hair. The sweet skin. Like a girl, even. You bring out the sappho in me."

  “Do I?” he laughs and crams his genitals out of sight between his lean thighs. Clamps his legs. “Then do me!” He gouges his palms against his chest, trying to push up ersatz breasts. “Come on,” he says hoarsely. “Here's your chance. Get on board. Flick that tongue."

  “Silly. Stop that!"

  “I think I'd be very pretty as a girl."

  “Your hips are all wrong,” she says, mid pulls his locked feet apart. Up pops penis, half-erect. She whangs it with the backs of two fingertips, gently. Further stiffening. But there will be no sex between them now. He rarely indulges at this time of day, with a performance coming up. And in any case the mood is wrong, too skittish, too brittle. She vaults off the sleeping platform and deflates it with a kick of the pedal while he is still on it. An airy whooshing. That sort of mood; presexual, childish. He watches her waltz to the cleanser. What a fine butt she has, he thinks. So pale. So full. The splendid deep cleft. The elegant dimples. He creeps toward her and stoops to nip a hinder cheek, carefully, not wanting to leave a blemish. They share the cleanser. The baby begins to yowl. Dillon glances over his shoulder. “God bless, god bless, god bless!” he sings, beginning basso, ending falsetto. What a good life, he thinks. How neat existence can be. Electra, pulling on her clothes, says, “Can I get you some fumes?” A transparent band over her breasts. Rosy nipples like little blind eyes. He is pleased that she has stopped nursing; biology is tremendously moving, yes, but the dribbles of bluishwhite milk over everything annoyed him. Doubtless a failing to eradicate. Why be so fastidious? Electra enjoyed nursing. She still lets the little suck, saying it's for the child's pleasure, but there can hardly be much kick in a dry tit, so Dillon knows the locus of the joy in that particular transaction. He hunts for his clothing.

  “Will you paint today?” he asks.

  “Tonight. While you're performing."

  “You haven't worked much lately."

  “I haven't felt the strings pulling."

  It is her special idiom. To practice her art she must feel rooted to the earth. Strings rising from the planet's core, entering her body, snaking into her slot, slipping through the openings of her nipples. And then tugging. As the world turns, the imagery is wrenched from her blazing distended body. Or so she says; Dillon never questions the claims of a fellow artist, especially when she is his wife. He admires her accomplishments. It would have been madness to marry another cosmos-grouper, although when he was eleven he had just such a thing in mind. To share his destinies with the comet-harp girl. He'd be a widower now if he had. Down the chute, down the chute! What a flippy filther that one had been. And had wrecked a perfectly wonderful incantator, too, Peregrun Connelly. Could have been me. Could have been me. Marry outside your art, boys; avoid unblessworthy invidiousness.

  “¿No fumar?” Electra asks. She has been studying ancient languages lately. “¿Por qué?"

  “Working tonight. It spills the galactic juices if I indulge this early."

  “Mind if I?"

  “Suit yourself."

  She takes a fume, nipping the cap neatly with a daggered forefingernail. Quickly her face flushes, her eyes dilate. A lovable quality about her: she is such an easy turnon. She puffs vapors at the baby, who chortles, while the maintenance slot's field buzzes in a solemn attempt to purify the child's atmosphere. “Grazie mille, mama!” Electra says, mimicking ventriloquy. “È molto bello! È delicioso! Was für schönes Wetter! Quella gioia!” She dances around the room, chanting fragments of exclamations in strange tongues, and tumbles, laughing, into the deflated sleeping platform. Her frilly frock blows up; he sees an auburn pubic glow and is tempted to top her despite his resolutions, but he regains his austerity and merely blows her a kiss. As if perceiving the phases of his mental processes, she piously closes her thighs and covers herself. He switches on the screen, selecting the abstract channel, and patterns blaze on the wall. “I love you,” he tells her. “Can I have something to eat?"

  She breakfasts him. Afterward she goes out, saying that she is scheduled to visit the blessman this afternoon. He is privately glad to see her go, for just now her vitality is too much for him. He must slide into the mood of the concert, which requires some spartan denials from him. Once she has gone, he programs the terminal for a reverberant oscillation and, as the resonant tones march across his skull, he slips lightly into the proper frame of mind. The baby, meanwhile, remains in its slot, enjoying the best of care. He thinks nothing of leaving it alone when, at 1600 hours, he must go off to Rome to set up for the evening's performance.

  The liftshaft shoots him 160 levels heavenward. When he gets off, he is in Rome. Crowded halls, tight faces. The people here are mostly minor bureaucrats, a middle echelon of failed functionaries, those who would never get to Louisville except to deliver a report. They are not smart enough to hope for Chicago or Shanghai or Edinburgh. Here they will stay in this good gray city, frozen in hallowed stasis, doing dehumanized jobs that any computer could handle forty times as well. Dillon feels a cosmic pity for everyone who is not an artist, but he pities the people of Rome most of all, sometimes. Because they are nothing. Because they can use neither their brains nor their muscles.

  Crippled souls; walking zeros; better off down the chute. A Roman slams right into him as he stands outside the liftshaft bank, considering these things. Male, maybe forty, all the spirit drained from his eyes. The walking dead. The running dead. “Sorry,” the man mumbles, and speeds on. “Truth!” Dillon cries after him. “Love! Loosen up! Fuck a lot!” He laughs. But what good does it do; the Roman will not laugh with him. Others of his kind come rushing down the corridor, their leaden bodies absorbing the last vibrations of Dillon's exclamations. “Truth! Love!” Blurred sounds, fading, graying, going. Gone. I will entertain you tonight, he tells them silently. I will drive you out of your wretched minds and you will love me for it. If I could only burn your brains! If I could only singe your souls!

  He thinks of Orpheus. They would tear me apart, he realizes, if I ever really reached them.

  He saunters toward the sonic center.

  Pausing by the elbow bend of the corridor, still halfway around the building from the auditorium, Dillon feels a sudden ecstatic awareness of the splendor of the Urbmon. A frenzied epiphany: he sees it as a spike suspended between heaven and earth. And he is almost at the midway point right now, with a little more than five hundred floors over his head, a little less than five hundred floors under his feet. People moving around, copulating, eating, giving birth, doing a million blessworthy things, each one out of 800-how-many-thousand traveling on his own orbit. Dillon loves the building. Right now he feels he could almost soar on its multiplicity the way others might soar on a drug. To be at the equator, to drink the divine equilibrium—oh, yes, yes! But of course there is a way to experience the whole complexity of the Urbmon in one wild rush of information. He has never tried it; he is not really heavy on groovers, and has stayed away from the more elaborate drugs, the ones that open your mind so wide that anything can wander in. Nevertheless, here in the middle of the Urbmon, he knows that this is the night to try the multiplexer. After the performance. To pop the pill that will allow him to drop the mental barriers, to let the full immensity of Urban Monad 116 interpenetrate his consciousness. Yes. He will go to the 500th floor to do it. If the performance goes well. Nightwalking in Bombay. He really should turn on in the city where tonight's concert will be held, but Rome goes no farther down than the 521st floor, and he must go to the 500th. For the mystic symmetry of the thing. Even though it is still inexact. Where is the true midpoint in a building of a thousand floors? Somewhere between 499 and 500, no? But the 500th floor will have to do. We learn to live with approximations.

  He enters the sonic center.

  A fine new auditorium, three stories high, with a toadstool of a stage in the center and audience webs strung concen
trically around it. Lightglow drifts in the air. The mouths of speakers, set into the domed rich-textured ceilings, pucker and gape. A warm room, a good room, placed here by the divine mercy of Louisville to bring a little joy into the lives of these bleak juiceless Romans. There is no better hall for a cosmos group in the entire Urbmon. The other members of the group are here already, tuning in. The comet-harp, the incantator, the orbital diver, the gravity-drinker, the doppler-inverter, the spectrum-rider. Already the room trembles with shimmering plinks of sound and jolly blurts of color, and a shaft of pure no-referent texture, abstract and immanent, is rising from the doppler-inverter's central cone. Everyone waves to him. “Late, man,” they say, and “Where you been?” and “We thought you were skimming out,” and he says, “I've been in the halls, peddling love to the Romans,” which shatters them into strands of screeching laughter. He clambers onto the stage. His instrument sits untended near the perimeter, its lattices dangling, its lovely gaudy skin unilluminated. A lifting machine stands by, waiting to help him put it in its proper place. The machine brought the vibrastar to the auditorium; it would also tune it in for him, if he asked it to, but of course he will not do that. Musicians have a mystique about tuning in their own instruments. Even though it will take him at least two hours to do it, and the machine could do it in ten minutes. Maintenance workers and other humbles of the grubbo class have the same mystique. Not strange: one must battle constantly against one's own obsolescence if one is going to go on thinking of oneself as having a purpose in life.