"What gamble is this?" Li-hsing asked with open concern.
"I couldn't tell you, or even the people at Feingold and Martin. I was sure I would be stopped. See here, if it is the brain that is at issue, isn't the greatest difference of all the matter of immortality. Who really cares what a brain looks like or is built of or how it was formed. What matters is that human brain cells die; must die. Even if every other organ in the body is maintained or replaced, the brain cells, which cannot be replaced without changing and therefore killing the personality, must eventually die.
"My own positronic pathways have lasted nearly two centuries without perceptible change, and can last for centuries more. Isn't that the fundamental barrier? Human beings can tolerate an immortal robot, for it doesn't matter how long a machine lasts, but they cannot tolerate an immortal human being since their own mortality is endurable only so long as it is universal. And for that reason they won't make me a human being."
"What is it you're leading up to, Andrew?" Li-hsing asked.
"I have removed that problem. Decades ago, my positronic brain was connected to organic nerves. Now, one last operation has arranged that connection in such a way that slowly- quite slowly- the potential is being drained from my pathways."
Li-hsing's finely wrinkled face showed no expression for a moment. Then her lips tightened. "Do you mean you've arranged to die, Andrew? You can't have. That violates the Third Law."
"No," said Andrew, "I have chosen between the death of my body and the death of my aspirations and desires. To have let my body live at the cost of the greater death is what would have violated the Third Law."
Li-hsing seized his arm as though she were about to shake him. She stopped herself. "Andrew, it won't work! Change it back."
"It can't be done. Too much damage was done. I have a year to live more or less. I will last through the two-hundredth anniversary of my construction. I was weak enough to arrange that."
"How can it be worth it? Andrew, you're a fool."
"If it brings me humanity, that will be worth it. If it doesn't, it will bring an end to striving and that will be worth it, too."
Then Li-hsing did something that astonished herself. Quietly, she began to weep.
22.
It was odd how that last deed caught the imagination of the world. All that Andrew had done before had not swayed them. But he had finally accepted even death to be human, and the sacrifice was too great to be rejected.
The final ceremony was timed, quite deliberately, for the two hundredth anniversary. The World President was to sign the act and make the people's will law. The ceremony would be visible on a global network and would be beamed to the Lunar state and even to the Martian colony.
Andrew was in a wheelchair. He could still walk, but only shakily.
With mankind watching, the World President said, "Fifty years ago, you were declared The Sesquicentennial Robot, Andrew." After a pause, and in a more solemn tone, he continued, "Today we declare you The Bicentennial Man, Mr. Martin."
And Andrew, smiling, held out his hand to shake that of the President.
23.
Andrew's thoughts were slowly fading as he lay in bed. Desperately he seized at them. Man! He was a man!
He wanted that to be his last thought. He wanted to dissolve- die with that.
He opened his eyes one more time and for one last time recognized Li-hsing, waiting solemnly. Others were there, but they were only shadows, unrecognizable shadows. Only Li-hsing stood out against the deepening gray.
Slowly, inchingly, he held out his hand to her and very dimly and faintly felt her take it.
She was fading in his eyes as the last of his thoughts trickled away. But before she faded completely, one final fugitive thought came to him and rested for a moment on his mind before everything stopped.
"Little Miss," he whispered, too low to be heard.
In the old days, one wrote science fiction for science fiction magazines. In fact, John Campbell once jokingly defined that indefinable field as follows: "Science fiction is what science fiction editors buy."
Nowadays, however, all sorts of editors buy it, and I am prepared to receive requests from the unlikeliest sources. For instance, in the summer of 1975, I received a request from a magazine named High Fidelity to do a science fiction story that was 2,500 words long, that was set about twenty-five years in the future, and that dealt with some aspect of sound recording.
I was intrigued by the narrowness of the boundary conditions, since that made it quite a challenge. Of course, I explained to the editor that I knew nothing about music or about sound recording, but that was pushed impatiently to one side as irrelevant. I started the story on September 18, 1975, and when I was through the editor liked it. He suggested some changes that would remove a bit of the aura of musical illiteracy on my part and then it appeared in the April 1976 issue of the magazine.
Marching In
Jerome Bishop, composer and trombonist, had never been in a mental hospital before.
There had been times when he had suspected he might be in one, someday, as a patient (who was safe?), but it had never occurred to him that he might ever be there as a consultant on a question of mental aberration. A consultant.
He sat there, in the year 2001, with the world in pretty terrible shape, but (they said) pulling out of it, and then rose as a middle-aged women entered. Her hair was beginning to turn gray, and Bishop was thankfully conscious of his own hair still in full shock and evenly dark.
"Are you Mr. Bishop?" she asked.
"Last time I looked."
She held out her hand. "I'm Dr. Cray. Won't you come with me?"
He shook her hand, then followed. He tried not to be haunted by the dull beige uniforms worn by everyone he passed.
Dr. Cray put a finger to her lip, and motioned him into a chair. She pressed a button and the lights went out, causing a window, with a light behind it, to spring into view. Through the window, Bishop could see a woman in something that looked like a dentist's chair, tilted back. A forest of flexible wires sprang from her head, a thin narrow beam of light extended from pole to pole behind her, and a somewhat less narrow strip of paper unfolded upward.
The light went on again; the view vanished.
Dr. Cray said, "Do you know what we're doing in there?"
"You're recording brain waves? Just a guess."
"A good guess. We are. It's a laser recording. Do you know how that works?"
"My stuff's been recorded by laser," said Bishop, crossing one leg over the other, "but that doesn't mean I know how it works. It's the engineers who know the details…Look, Doc, if you have an idea I'm a laser engineer, I'm not."
"No, I know you're not," said Dr. Cray hurriedly. "You're here for something else…Let me explain it to you. We can alter a laser beam very delicately; much more rapidly and much more precisely than we can alter an electric current, or even a beam of electrons. That means that a very complex wave can be recorded in far greater detail than has ever been imagined before. We can make a tracing with a microscopically narrow laser beam and get a wave we can study under a microscope and get accurate detail invisible to the naked eye and unobtainable in any other fashion."
Bishop said,,.It that's what you want to consult me about, then all I can say is that it doesn't pay to get all that detail. You can only hear so much. It you sharpen a laser recording past a certain amount, you bring up the expense but you don't bring up the effect. In fact, some people say you get some kind of buzz that begins to drown out the music. I don't hear it myself, but I tell you that if you want the best, you don't narrow the laser beam all the way…Of course, maybe it's different with brain waves but what I told you is an I can tell you, so I'll go and there's no charge except for carfare."