Since it's only the blue tissue and the pheromones released by it that stimulate the males, there's no more unrequited love these days, no more thwarted lust; no more shadow between the desire and the act. Courtship begins at the first whiff, the first faint blush of azure, with the males presenting flowers to the females - just as male penguins present round stones, said Crake, or as the male silverfish presents a sperm packet. At the same time they indulge in musical outbursts, like songbirds. Their penises turn bright blue to match the blue abdomens of the females, and they do a sort of blue-dick dance number, erect members waving to and fro in unison, in time to the foot movements and the singing: a feature suggested to Crake by the sexual semaphoring of crabs. From amongst the floral tributes the female chooses four flowers, and the sexual ardour of the unsuccessful candidates dissipates immediately, with no hard feelings left. Then, when the blue of her abdomen has reached its deepest shade, the female and her quartet find a secluded spot and go at it until the woman becomes pregnant and her blue colouring fades. And that is that.
No more No means yes, anyway, thinks Snowman. No more prostitution, no sexual abuse of children, no haggling over the price, no pimps, no sex slaves. No more rape. The five of them will roister for hours, three of the men standing guard and doing the singing and shouting while the fourth one copulates, turn and turn about. Crake has equipped these women with ultra-strong vulvas - extra skin layers, extra muscles - so they can sustain these marathons. It no longer matters who the father of the inevitable child may be, since there's no more property to inherit, no father-son loyalty required for war. Sex is no longer a mysterious rite, viewed with ambivalence or downright loathing, conducted in the dark and inspiring suicides and murders. Now it's more like an athletic demonstration, a free-spirited romp.
Maybe Crake was right, thinks Snowman. Under the old dispensation, sexual competition had been relentless and cruel: for every pair of happy lovers there was a dejected onlooker, the one excluded. Love was its own transparent bubble-dome: you could see the two inside it, but you couldn't get in there yourself.
That had been the milder form: the single man at the window, drinking himself into oblivion to the mournful strains of the tango. But such things could escalate into violence. Extreme emotions could be lethal. If I can't have you nobody will, and so forth. Death could set in.
"How much misery," Crake said one lunchtime - this must have been when they were in their early twenties and Crake was already at the Watson-Crick Institute - "how much needless despair has been caused by a series of biological mismatches, a misalignment of the hormones and pheromones? Resulting in the fact that the one you love so passionately won't or can't love you. As a species we're pathetic in that way: imperfectly monogamous. If we could only pair-bond for life, like gibbons, or else opt for total guilt-free promiscuity, there'd be no more sexual torment. Better plan - make it cyclical and also inevitable, as in the other mammals. You'd never want someone you couldn't have."
"True enough," Jimmy replied. Or Jim, as he was now insisting, without results: everyone still called him Jimmy. "But think what we'd be giving up."
"Such as?"
"Courtship behaviour. In your plan we'd just be a bunch of hormone robots." Jimmy thought he should put things in Crake's terms, which was why he said courtship behaviour. What he meant was the challenge, the excitement, the chase. "There'd be no free choice."
"There's courtship behaviour in my plan," said Crake, "except that it would always succeed. And we're hormone robots anyway, only we're faulty ones."
"Well, what about art?" said Jimmy, a little desperately. He was, after all, a student at the Martha Graham Academy, so he felt some need to defend the art-and-creativity turf.
"What about it?" said Crake, smiling his calm smile.
"All that mismatching you talk about. It's been an inspiration, or that's what they say. Think of all the poetry - think Petrarch, think John Donne, think the Vita Nuova, think ..."
"Art," said Crake. "I guess they still do a lot of jabbering about that, over where you are. What is it Byron said? Who'd write if they could do otherwise? Something like that."
"That's what I mean," said Jimmy. He was alarmed by the reference to Byron. What right had Crake to poach on his own shoddy, threadbare territory? Crake should stick to science and leave poor Byron to Jimmy.
"What do you mean?" said Crake, as if coaching a stutterer.
"I mean, when you can't get the otherwise, then ..."
"Wouldn't you rather be fucking?" said Crake. He wasn't including himself in this question: his tone was one of detached but not very strong interest, as if he were conducting a survey of people's less attractive personal habits, such as nose-picking.
Jimmy found that his face got redder and his voice got squeakier the more outrageous Crake became. He hated that. "When any civilization is dust and ashes," he said, "art is all that's left over. Images, words, music. Imaginative structures. Meaning - human meaning, that is - is defined by them. You have to admit that."
"That's not quite all that's left over," said Crake. "The archeologists are just as interested in gnawed bones and old bricks and ossified shit these days. Sometimes more interested. They think human meaning is defined by those things too."
Jimmy would like to have said Why are you always putting me down? but he was afraid of the possible answers, because it's so easy being one of them. So instead he said, "What have you got against it?"
"Against what? Ossified shit?"
"Art."
"Nothing," said Crake lazily. "People can amuse themselves any way they like. If they want to play with themselves in public, whack off over doodling, scribbling, and fiddling, it's fine with me. Anyway it serves a biological purpose."
"Such as?" Jimmy knew that everything depended on keeping his cool. These arguments had to be played through like a game: if he lost his temper, Crake won.
"The male frog, in mating season," said Crake, "makes as much noise as it can. The females are attracted to the male frog with the biggest, deepest voice because it suggests a more powerful frog, one with superior genes. Small male frogs - it's been documented - discover that if they position themselves in empty drainpipes, the pipe acts as a voice amplifier, and the small frog appears much larger than it really is."
"So?"
"So that's what art is, for the artist," said Crake. "An empty drainpipe. An amplifier. A stab at getting laid."
"Your analogy falls down when it comes to female artists," said Jimmy. "They're not in it to get laid. They'd gain no biological advantage from amplifying themselves, since potential mates would be deterred rather than attracted by that sort of amplification. Men aren't frogs, they don't want women who are ten times bigger than them."
"Female artists are biologically confused," said Crake. "You must have discovered that by now." This was a snide dig at Jimmy's current snarled romance, with a brunette poet who'd renamed herself Morgana and refused to tell him what her given name had been, and who was currently on a twenty-eight-day sex fast in honour of the Great Moon-Goddess Oestre, patroness of soybeans and bunnies. Martha Graham attracted those kinds of girls. An error, though, to have confided this affair to Crake.
Poor Morgana, thinks Snowman. I wonder what happened to her. She'll never know how useful she's been to me, her and her claptrap. He feels a little paltry for having pawned Morgana's drivel off on the Crakers as cosmogony. But it seems to make them happy enough.
Snowman leans against a tree, listening to the noises off. My love is like a blue, blue rose. Moon on, harvest shine. So now Crake's had his way, he thinks. Hooray for him. There's no more jealousy, no more wife-butcherers, no more husband-poisoners. It's all admirably good-natured: no pushing and shoving, more like the gods cavorting with willing nymphs on some golden-age Grecian frieze.
Why then does he feel so dejected, so bereft? Because he doesn't understand this kind of behaviour? Because it's beyond him? Because he can't jump in?
And what would hap
pen if he tried? If he burst out of the bushes in his filthy tattered sheet, reeking, hairy, tumescent, leering like a goat-balled, cloven-hoofed satyr or a patch-eyed buccaneer from some ancient pirate film - Aarr, me hearties! - and attempted to join the amorous, blue-bottomed tussle? He can imagine the dismay - as if an orang-utang had crashed a formal waltzfest and started groping some sparkly pastel princess. He can imagine his own dismay too. What right does he have to foist his pustulant, cankered self and soul upon these innocent creatures?
"Crake!" he whimpers. "Why am I on this earth? How come I'm alone? Where's my Bride of Frankenstein?"
He needs to ditch this morbid tape-loop, flee the discouraging scene. Oh honey, a woman's voice whispers, Cheer up! Look on the bright side! You've got to think positive!
He hikes doggedly onward, muttering to himself. The forest blots up his voice, the words coming out of him in a string of colourless and soundless bubbles, like air from the mouths of the drowning. The laughter and singing dwindle behind him. Soon he can't hear them at all.
8
~
SoYummie
~
Jimmy and Crake graduated from HelthWyzer High on a warm humid day in early February. The ceremony used to take place in June; the weather then used to be sunny and moderate. But June was now the wet season all the way up the east coast, and you couldn't have held an outdoor event then, what with the thunderstorms. Even early February was pushing it: they'd ducked a twister by only one day.
HelthWyzer High liked to do things in the old style, with marquees and awnings and the mothers in flowered hats and the fathers in panamas, and fruit-flavoured punch, with or without alcohol, and Happicuppa coffee, and little plastic tubs of SoYummie Ice Cream, a HelthWyzer Own Brand, in chocolate soy, mango soy, and roasted-dandelion green-tea soy. It was a festive scene.
Crake was top of the class. The bidding for him by the rival EduCompounds at the Student Auction was brisk, and he was snatched up at a high price by the Watson-Crick Institute. Once a student there and your future was assured. It was like going to Harvard had been, back before it got drowned.
Jimmy on the other hand was a mid-range student, high on his word scores but a poor average in the numbers columns. Even those underwhelming math marks had been achieved with the help of Crake, who'd coached Jimmy weekends, taking time away from his own preparations. Not that he himself needed any extra cramming, he was some sort of mutant, he could crank out the differential equations in his sleep.
"Why are you doing this?" Jimmy asked in the middle of one exasperating session. (You need to look at it differently. You have to get the beauty of it. It's like chess. Here - try this. See? See the pattern? Now it all comes clear. But Jimmy did not see, and it did not all come clear.) "Why help me out?"
"Because I'm a sadist," Crake said. "I like to watch you suffer."
"Anyway, I appreciate it," said Jimmy. He did appreciate it, for several reasons, the best being that because Crake was known to be tutoring him Jimmy's dad had no grounds for nagging.
If Jimmy had been from a Module school, or - better - from one of those dump bins they still called "the public system," he'd have shone like a diamond in a drain. But the Compound schools were awash in brilliant genes, none of which he'd inherited from his geeky, kak-hearted parents, so his talents shrank by comparison. Nor had he been given any extra points for being funny. He was less funny now, anyway: he'd lost interest in the general audience.
After a humiliating wait while the brainiacs were tussled over by the best EduCompounds and the transcripts of the mediocre were fingered and skimmed and had coffee spilled on them and got dropped on the floor by mistake, Jimmy was knocked down at last to the Martha Graham Academy; and even that only after a long spell of lacklustre bidding. Not to mention some arm-twisting - Jimmy suspected - on the part of his dad, who'd known the Martha Graham president from their long-defunct mutual summer camp and probably had the dirt on him. Shagging smaller boys, dabbling in black-market pharmaceuticals. Or this was Jimmy's suspicion, in view of the ill grace and excessive force with which his hand was shaken.
"Welcome to Martha Graham, son," said the president with a smile fake as a vitamin-supplement salesman's.
When can I stop being a son? thought Jimmy.
Not yet. Oh, not yet. "Attaboy, Jimmy," said his father at the garden party afterwards, giving him the arm punch. He had chocolate soy goo on his dweeby tie, which had a pattern of pigs with wings. Just don't hug me, Jimmy prayed.