The cab drove fast on the highway, and the dust spooned up on either side, glowing a lovely gold in the westering sun, that calmed me. The robot driver was just a panel and slot for coins and notes. The flyer costs much less and is much nicer, because it travels a hundred feet above the ground.
The Baxter Empire travels in the air too, one of those old vertical lift-offs. Mother used it in the jungle, its blades smashing the forest roof out of the way as it went up, and portions of severed monkeys falling past the windows. Although I’ve forgotten all the important parts of my early travels, that’s one part I do remember, and I remember I cried. Mother then told me nothing dies ever, animal or human. A psychic force inside us survives physical death, and continues on both in the spiritual, and in other bodies. At the time I thought rebelliously for five minutes she was just making an excuse for killing the monkeys, as if killing them didn’t matter, because they weren’t really dead. But even so, I guessed she was right. It was easier to believe it anyway.
It was peculiar thinking of the monkeys now, over ten years later. What was the connection between them and the red-haired robot outside the Theatra? I wanted to stop thinking about him. But I wouldn’t be able to until I’d told mother. That was peculiar, too. Even when I hadn’t wanted to bother her with things, with my problems, or events which had unnerved me, I never could deal with them until I’d discussed them with her. Or rather, till I’d told her and she’d told me what to do. Doing what my mother says makes life, which I find so confusing, much simpler. Like adopting her opinions, and so thinking on a sort of permanent tangent that’s probably wrong so doesn’t matter. My living is like that, too. I do what she says, and follow her advice, but somehow my life—my true response to life—goes on quite differently and somewhere else. How strange. Until I wrote it here, I’d never thought about it before.
After about twelve minutes, the slim steel supports of the house appeared. But not even a ghost was visible of the house now, in the thickening light. I paid the cab the balance, and got out and walked up the white concrete approach between the conifer trees. The house lift is in the nearest support, and when I speak to it it always says: “Hallo, Jane.” When I was a little girl, all the mechanisms in the house would speak to me. I was, am, very used to intelligent mechanical things, totally at home with them.
Until today.
The lift went up, smooth as silk, and gaining terrific momentum until its gradual slowing near the top of the support, neither of which processes can be felt at all. I’d thought perhaps my mother wouldn’t be home yet. She’d been addressing a meeting somewhere, or giving a talk. But there had been a faint scent of pear-oil gasoline vaguely noticeable on the approach, the gas the Baxter burns. And the conifers had the slightly sulky backcombed look they get from the down-gale of a VLO. Even so, I might be mistaken. Once when I was eleven and very upset, and had rushed home, I smelled the Baxter’s gas though my mother had been away. I tore into the house, and found she still was; it had been a psychosomatic wish-fulfillment odor. My olfactory nerves had made it up to kid me she was there when I needed her, and she wasn’t, and didn’t come back for hours.
When the lift stopped and the door slid away, however, I also caught a faint, faint whiff of her perfume: La Verte.
When I was a child, the scent of La Verte could make me laugh with pure happiness. Then one morning, I poured it all over the carpets and the cushions and the drapes, so the whole house would smell like my mother. She sat with me, and explained my psychology to me, very carefully, and meanwhile everything was de-odorized. My mother never hit me, never smacked me, or ever shouted at me. She said this would be a sign of failure. Children must have everything explained. Then they could function just as concisely as adults.
The funny thing is, I think I was more mature as a child than I am now.
The lift opens on the foyer, which is, apparently, imposing. (“How imposing!”) Egyptia said that when she first saw it, it seemed to be made of frozen white ice cream, which would devour her. But really it’s white marble with tawny veins. Pencil-thin pillars rise in groups to discs which give a soft light at nighttime. But during the day, the light comes in from round high portholes. They’re too high, actually, to see much out of, just a glimpse now of the goldening sky—probably I shouldn’t make up adjectives, but it was. In the middle of the foyer is the openwork lift to the next floors. Mother had it designed like something she saw in an old visual once. Leading from the foyer is a bathroom suite, and door to the robot and mechanical storage hatches under the house, a kitchen and servicery, and the wine cellar. There are also two guest apartments with two more bathrooms in an annex to the east. When you get in the house lift and go up, you pass a mezzanine floor with more things like guest rooms, and a tape-store which locks itself and which only the spacemen can open. The tapes are house accounts or business records, or else very precious and ancient documentation. Only mother goes in there. There’s also a book library, with a priceless globe of the world as it used to be before the Asteroid altered it. One of the balcony-balloons runs off from the library, and sometimes I sit there to read, but I never do, because the sky stops me from concentrating.
The top floor has mother’s suite and study and studio on the north, all together, and these are soundproofed, and also locked. The rest of the floor is the Vista, a wonderful semicircle running almost all round the outside of the house, and blossoming into huge balcony-balloons like great crystal bubbles with the sky held in them. When you come in, the sky fills the room. One is in the sky, and not in a room at all. To make sure of the effect, the furniture is very simple, and either of glass or pale white reflective materials, which take on the colors of the upper troposphere outside. We’re not really up into the stratosphere, of course, that would be dangerous. Even up where we are, the house is pressurized and oxygenized. We can’t open our windows either. Nor do we ever close the drapes.
This evening, when I came into the Vista, the room was gold. Gold carpets, gold chairs, a dining table in a balloon-bubble seeming made of palest amontillado sherry. The chemical candelabra in the ceiling were unlit, but had gold fires on them from the sky. The sky was like yellow plum wine. I walked into one of the western bubbles, dazed, and watched the sunset happen there. It seemed to take weeks, as it always does so high, but as soon as the sky began to cool I crossed over into an eastern bubble and watched the Asteroid appear. It looks like a colossal blue-green star, but it pulls the winds with it, and the sea tides answer it in huge heaves and buffetings. It should have hit the Earth, but some of it burned off as it fell, and then the moon’s gravity also attracted it; it shifted, and then it stabilized. I think I have that right, don’t I? Men have walked on the Asteroid. Jason and Medea stole the bit of blue rock we had that came from it. It’s beautiful, but it killed a third of all the people in the world. That’s a statistic.
At the southern curve of the room is another little annex, and a small stair that goes up to my suite. The suite is done in green and bronze and white to match my physical color scheme. It has everything a contemporary girl could want, visual set, tape deck and player, hairdresser unit, closets full of clothes, exotic furnishings, games, books. But, though there are windows, they aren’t balcony-balloons, so I tend to stay in the Vista.
I was just wandering over to the piano, which was turning lavender-grey now, with the sky, when my mother came into the room.