William Gibson
Hinterlands
When Hiro hit the switch, I was dreaming of Paris, dreaming of wet, dark streets in winter. The pain came oscillating up from the floor of my skull, exploding behind my eyes in a wall of blue neon; I jackknifed up out of the mesh hammock, screaming. I always scream; I make a point of it. Feedback raged in my skull. The pain switch is an auxiliary circuit in the bonephone implant, patched directly into the pain centers, just the thing for cutting through a surrogate's barbiturate fog. It took a few seconds for my life to fall together, icebergs of biography looming through the fog: who I was, where I was, what I was doing there, who was waking me.
Hiro's voice came crackling into my head through the bone-conduction implant.- "Damn, Toby. Know what it does to my ears, you scream like that?"
"Know how much I care about your ears, Dr. Nagashima? I care about them as much as "
"No time for the litany of love, boy. We've got business. But what is it with these fifty-millivolt spike waves off your temporals, hey? Mixing something with the downers to give it a little color?"
"Your EEG's screwed, Hiro. You're crazy. I just want my sleep.
..." I collapsed into the hammock and tried to pull the darkness over me, but his voice was still there.
"Sorry, my man, but you're working today. We got a ship back, an hour ago. Air-lock gang are out there right now, sawing the reaction engine off so she'll just about fit through the door."
"Who is it?" "Leni Hofmannstahl, Toby, physical chemist, citizen of the Federal Republic of Germany." He waited until I quit groaning. "It's a confirmed meatshot."
Lovely workaday terminology we've developed out here. He meant a returning ship with active medical telemetry, contents one (1) body, warm, psychological status as yet unconfirmed. I shut my eyes and swung there in the dark.
"Looks like you're her surrogate, Toby. Her profile syncs with Taylor's, but he's on leave."
I knew all about Taylor's "leave." He was out in the agricultural canisters, ripped on amitriptyline, doing aerobic exercises to counter his latest bout with clinical depression. One of the occupational hazards of being a surrogate. Taylor and I don't get along. Funny how you usually don't, if the guy's psychosexual profile is too much like your own.
"Hey, Toby, where are you getting all that dope?" The question was ritual. "From Charmian?"
"From your mom, Hiro." He knows it's Charmian as well as I do.
"Thanks, Toby. Get up here to the Heavenside elevator in five minutes or I'll send those Russian nurses down to help you. The male ones."
I just swung there in my hammock and played the game called Toby Halpert's Place in the Universe. No egotist, I put the sun in the center, the lumiary, the orb of day. Around it I swung tidy planets, our cozy home system. But just here, at a fixed point about an eighth of the way out toward the orbit of Mars, I hung a fat alloy cylinder, like a quarter-scale model of Tsiolkovsky 1, the Worker's Paradise back at L-5. Tsiolkovsky 1 is fixed at the liberation point between Earth's gravity and the moon's, but we need a lightsail to hold us here, twenty tons of aluminum spun into a hexagon, ten kilometers from side to side. That sail towed us out from Earth orbit, and now it's our anchor. We use it to tack against the photon stream, hanging here beside the thing the point, the singularity we call the Highway.
The French call it le metro, the subway, and the Russians call it the river, but subway won't carry the distance, and river, for Americans, can't carry quite the same loneliness. Call it the Tovyevski Anomaly Coordinates if you don't mind bringing Olga into it. Olga Tovyevski, Our Lady of Singularities, Patron Saint of the Highway.
Hiro didn't trust me to get up on my own. Just before the Russian orderlies came in, he turned the lights on in my cubicle, by remote control, and let them strobe and stutter for a few seconds before they fell as a steady glare across the pictures of Saint Olga that Charmian had taped up on the bulkhead. Dozens of them, her face repeated in newsprint, in magazine glossy. Our Lady of the Highway.
Lieutenant Colonel Olga Tovyevski, youngest woman of her rank in the Soviet space effort, was en route to Mars, solo, in a modified Alyut 6. The modifications allowed her to carry the prototype of a new airscrubber that was to be tested in the USSR's four-man Martian orbital lab. They could just as easily have handled the Alyut by remote, from Tsiolkovsky, but Olga wanted to log mission time. They made sure she kept busy, though; they stuck her with a series of routine hydrogen-band radio-flare experiments, the tail end of a lowpriority Soviet-Australian scientific exchange. Olga knew that her role in the experiments could have been handled by a standard household timer. But she was a diligent officer; she'd press the buttons at precisely the correct intervals.
With her brown hair drawn back and caught in a net, she must have looked like some idealized Pravda cameo of the Worker in Space, easily the most photogenic cosmonaut of either gender. She checked the Alyut's chronometer again and poised her hand above the buttons that would trigger the first of her flares. Colonel Tovyevski had no way of knowing that she was nearing the point in space that would eventually be known as the Highway.
As she punched the six-button triggering sequence, the Alyut crossed those final kilometers and emitted the flare, a sustained burst of radio energy at 1420 megahertz, broadcast frequency of the hydrogen atom. Tsiolkovsky's radio telescope was tracking, relaying the signal to geosynchronous comsats that bounced it down to stations in the southern Urals and New South Wales. For 3.8 seconds the Alyut's radio-image was obscured by the afterimage of the flare.
When the afterimage faded from Earth's monitor screens, the Alyut was gone.
In the Urals a middle-aged Georgian technician bit through the stem of his favorite meerschaum. In New South Wales a young physicist began to slam the side of his monitor, like an enraged pinball finalist protesting TILT.
The elevator that waited to take me up to Heaven looked like Hollywood's best shot at a Bauhaus mummy case a narrow, upright sarcophagus with a clear acrylic lid. Behind it, rows of identical consoles receded like a textbook illustration of vanishing perspective. The usual crowd of technicians in yellow paper clown suits were milling purposefully around. I spotted Hiro in blue denim, his pearl-buttoned cowboy shirt open over a faded UCLA sweat shirt. Engrossed in the figures cascading down the face of a monitor screen, he didn't notice me. Neither did anyone else.
So I just stood there and stared up at the ceiling, at the bottom of the floor of Heaven. It didn't look like much. Our fat cylinder is actually two cylinders, one inside the other. Down here in the outer one we make our own "down" with axial rotation are all the more mundane aspects of our operation: dormitories, cafeterias, the air-lock deck, where we haul in returning - boats, Communications and Wards, where I'm careful never to go.
Heaven, the inner cylinder, the unlikely green heart of this place, is the ripe Disney dream of homecoming, the ravenous ear of an information-hungry global economy. A constant stream of raw data goes pulsing home to Earth, a flood of rumors, whispers, hints of transgalactic traffic. I used to lie rigid in my hammock and feel the pressure of all those data, feel them snaking through the lines I imagined behind the bulkhead, lines like sinews, strapped and bulging, ready to spasm, ready to crush me. Then Charmian moved in with me, and after I told her about the fear, she made magic against it and put up her icons of Saint Olga. And the pressure receded, fell away.
"Patching you in with a translator, Toby. You may need German this morning." His voice was sand in my skull, a dry modulation of static. "Hillary "