The Wild. David Zindell

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СКАЧАТЬ must be real, he quickly left his ship and returned to the beach. He began trudging up the dunes, the fine sands slipping beneath his boots and his weakened muscles. He worked his way forward and up against the pull of the Earth as if he were drunk on strong alcoholic spirits. Soon, however, with every step taken as he drew nearer the house, he began to acclimatize to the planet’s gravity. He remembered how to walk on treacherous sands. He remembered other things as well. Once, in this simple house of white granite that he could now see too well, there had been long nights of passion and love and happiness. Once, a woman had lived here, Tamara Ten Ashtoreth, she of the great heart and broken life whom he had loved and lost. But she had fled this house. In truth, she had fled Danlo and his burning memories. It was said that she had even fled Neverness for the stars. Although Danlo did not think it was possible that she could have found her way to this mysterious planet deep within the Solid State Entity, he hurried up the beach straight towards this house to discover what (or who) lay inside.

       Tamara, Tamara – in this house you promised to marry me.

      At last, on top of a small, grass-covered hill, at the end of a path laid with flat sandstones, he came up to the house’s door. It was thick and arched and sculpted out of shatterwood, a dense black wood native only to islands on the planet Icefall. Shatterwood trees had never grown on Old Earth, and so it was a mystery how the Entity had found shatterwood with which to build this house. He reached out to touch the door. The wood was cold and hard and polished to an impossible smoothness in the way that only shatterwood can be polished. He traced his finger across the lovely grain of the door, remembering. Somehow the Entity had exactly duplicated the door of Tamara’s house. In Danlo’s mind, just behind his eyes, there were many doors, but this particular one stood out before all others. He remembered exactly how the door planks had joined together in an almost seamless merging of the grain; he could see every knot and ring and dark whorl as if he were standing on the steps of this house on Neverness about to knock on the door. But he was not on Neverness. He stood before the door of an impossible house above a desolate and windswept beach, and the pattern of the whorls twisting through the shatterwood exactly matched the bright black whorls that burned through his memory.

      How is it possible? he wondered. How is it possible that all things remember?

      For a long time he stood there staring at the door and listening to the cries of the seagulls and other shore birds on the beach below. Then he made a fist and rapped his knuckles against the door. The sound of resonating wood was hollow and ancient. He knocked again, and the sound of bone striking against wood was lost to the greater sounds of the sweeping wind and the ocean that rang like a great deep bell far below him. A third time he knocked, loudly with much force, and he waited. When there was no answer, he tried the clear quartz doorknob, which turned easily in his hand. Then he opened the door and stepped across the threshold into the cold hallway inside.

      ‘Tamara, Tamara!’ he called out. But immediately, upon listening to the echoes that his voice made against the hall stones, he knew the house was empty. ‘Tamara, Tamara – why aren’t you home?’

      Out of politeness and respect for the rules of Tamara’s house, he removed his boots before walking through her rooms. Because it was a small house laid out across a single floor, there were only five rooms: the hallway gave out onto the brightly lit meditation room, which was adjoined by the bathing room and fireroom at the rear of the house, and the tea room and the small kitchen at the front. It took him almost no time to verify that the house was indeed empty. That is, it was empty of human beings or evidence of present habitation. True, the kitchen was well-stocked with teas, cheeses, and fruits – and fifty other types of foods that Tamara had delighted in preparing for him. But everything about the kitchen – the neat rows of coloured teas in the jars, the oranges and bloodfruit piled high in perfect pyramids inside large blue bowls, the tiled counters completely free of toast crumbs or honey drippings – bespoke a room that hadn’t been used recently, but rather prepared for a guest. Similarly, the cotton cushions in the tea room were new and undented, as if no one had ever sat on them. And in the fireroom the shagshay furs smelled of new wool instead of sweat, and the stones of the two fireplaces were clean of ashes or soot. It was as if the Entity, in making this house, had perfectly incarnated the details of his memory but had been unable to duplicate the chaos and disorder (and dirt) that came of living a normal, organic life. But certainly She had duplicated everything else. The rosewood beams of the ceiling and the skylights were exactly as he remembered them. In the tea room, the tea service was set out on the low, lacquered table. And along the sill of the window overlooking the ocean, there was the doffala bear sculpture that he remembered so well and the seven oiled stones. Each object in the house was perfectly made and perfectly matched his memory. Except for one thing. When Danlo walked into the meditation room he immediately noticed a sulki grid hanging on the wall by the fireplace. And that was very strange because Tamara had never collected or used outlawed technology. She had never liked experiencing computer simulations or artificial images or sounds. And even if she’d had a taste for cartoons and other such seemingly real holographic displays, she never would have allowed them to be made in her meditation room. Because Danlo wondered what programs this sulki grid had been programmed to run, he pitched his voice toward it, saying simply, ‘On, please.’

      For a moment nothing happened. Most likely, he supposed, the sulki grid would be keyed to some voice other than his own. He stood there breathing deeply, and he was almost relieved that the sulki grid appeared to be dead. He had imagined (and feared) that an imago of Tamara would appear before him, as tall and naked and achingly beautiful as ever she had been as a real woman. And then without warning the spiderweb neurologics of the grid flared into life, projecting an imago into the centre of the room. It was like no imago that Danlo had ever seen before. It was all flashing colours and shifting lights, like a column of fire burning up from the floor – but not burning any thing, neither the inlaid shatterwood floor tiles, nor the hanging plants, nor the air itself. Soon the display settled out into a kind of pattern with which he was very familiar. It was an array of ideoplasts, not the ideoplasts of mathematics, but rather those of the universal syntax. A scarce three feet in front of his face, glowing through the air in jewel-like glyphs of emerald and sapphire and tourmaline, were the three-dimensional symbols of the language beyond language of the holoists that he had learned as a young novice. It was a highly refined and beautiful language that could represent and relate any aspect of reality from the use of alien archetypes in the poets of the Fourth Dark Age to the pattern of neural storm singularities in the brain of a dreaming autist. Ideoplasts could symbolize the paradoxes of the cetic’s theory of the circular reduction of consciousness or alien words or – sometimes – even the phonemes and sounds of any human language, living or dead. Most often one encountered ideoplasts in libraries or when interfacing the various cybernetic spaces of a computer in order to discover or create an almost infinite variety of knowledge. Ideoplasts were mental symbols only, and they were best viewed as arrays of lovely and complex glyphs which a computer would cark into the vast visual fields of the mind’s eye. And the universal syntax was the language of holists and other academicians wishing to relate the most abstruse and arcane concepts; rarely were its ideoplasts used to represent everyday speech or in the sending of common messages. Only rarely, on Neverness and the other Civilized Worlds, would some pretentious restaurateur (or imprimatur) appropriate the ideoplasts of the universal syntax and instantiate them as glowing neon signs above his shop. But such use of these sacred symbols was considered gauche, even sacrilegious. Danlo had never seen an array of ideoplasts projected in the space of a common room, and so it took him some time to adjust to this new perspective and new way of apprehending them. With his eyes only, he played over the ideoplasts, slowly kithing them, much as he might read ancient Chinese characters or the letters of an unfamiliar alien language written into a book. The message written into the glowing air of the meditation room, as he saw when he finally kithed it, proved to be quite simple. It was a simple greeting, from the mind of a goddess for his eyes only:

       How far do you fall, Pilot? How have you fallen so far and so well, Danlo wi Soli Ringess?

      He sensed that he should reply to СКАЧАТЬ