When Fletcher fell silent Asenion said, “What are you most afraid of? Critical mass? Or cumulative electron loss?”
“We’ve dealt with the critical mass problem by powdering the stuff, shielding it in graphite, and scattering it in low concentrations to fifty different storage points. But it keeps on coming in—they love to send it to us, it seems. And the thought that every atom of it is giving off positrons that go around looking for electrons to annihilate—” Fletcher shrugged. “On a small scale it’s a useful energy pump, I suppose, tungsten swapped for plutonium with energy gained in each cycle. But on a large scale, as we continue to transfer electrons from our universe to theirs—”
“Yes,” Asenion said.
“So we need a way to dispose of—”
“Yes.” He looked at his watch. “Where are you staying while you’re in town, Fletcher?”
“The Faculty Club, as usual.”
“Good. I’ve got some crosses to make and I don’t want to wait any longer, on account of possible pollen contamination. Go over to the Club and keep yourself amused for a few hours. Take a shower. God knows you need one: you smell like something out of the jungle. Relax, have a drink, come back at five o’clock. We can talk about this again then.” He shook his head. “Plutonium-186! What lunacy! It offends me just to say it out loud. It’s like saying—saying—well, Billbergia yukonensis, or Tillandsia bostoniae. Do you know what I mean? No. No. Of course you don’t.” He waved his hands. “Out! Come back at five!”
It was a long afternoon for Fletcher. He phoned his wife, he phoned Jesse Hammond at the laboratory, he phoned an old friend and made a date for dinner. He showered and changed. He had a drink in the ornate lounge on the Fifth Avenue side of the Club.
But his mood was grim, and not merely because Hammond had told him that another four kilograms of Plutonium-186 had been reported from various regions that morning. Asenion’s madness oppressed him.
There was nothing wrong with an interest in plants, of course. Fletcher kept a philodendron and something else, whose name he could never remember, in his own office. But to immerse yourself in one highly specialized field of botany with such intensity—it seemed sheer lunacy. No, Fletcher decided, even that was all right, difficult as it was for him to understand why anyone would want to spend his whole life cloistered with a bunch of eerie plants. What was hard for him to forgive was Asenion’s renunciation of physics. A mind like that—the breadth of its vision—the insight Asenion had had into the greatest of mysteries—dammit, Fletcher thought, he had owed it to the world to stick to it! And instead, to walk away from everything, to hole himself up in a cage of glass—
Hammond’s right, Fletcher told himself. Asenion really is crazy.
But it was useless to fret about it. Asenion was not the first supergenius to snap under contemplation of the Ultimate. His withdrawal from physics, Fletcher said sternly to himself, was a matter between Asenion and the universe. All that concerned Fletcher was getting Asenion’s solution to the plutonium-186 problem; and then the poor man could be left with his bromeliads in peace.
About half past four Fletcher set out by cab to battle the traffic the short distance uptown to Asenion’s place.
Luck was with him. He arrived at ten of five. Asenion’s house-robot greeted him solemnly and invited him to wait. “The master is in the greenhouse,” the robot declared. “He will be with you when he has completed the pollination.”
Fletcher waited. And waited and waited.
Geniuses, he thought bitterly. Pains in the neck, all of them. Pains in the—
Just then the robot reappeared. It was half past six. All was blackness outside the window. Fletcher’s dinner date was for seven. He would never make it.
“The master will see you now,” said the robot.
Asenion looked limp and weary, as though he had spent the entire afternoon smashing up boulders. But the formidable edge seemed gone from him, too. He greeted Fletcher with a pleasant enough smile, offered a word or two of almost-apology for his tardiness, and even had the robot bring Fletcher a sherry. It wasn’t very good sherry, but to get anything at all to drink in a teetotaler’s house was a blessing, Fletcher figured.
Asenion waited until Fletcher had had a few sips. Then he said, “I have your answer.”
“I knew you would.”
There was a long silence.
“Thiotimoline,” said Asenion finally.
“Thiotimoline?”
“Absolutely. Endochronic disposal. It’s the only way. And, as you’ll see, it’s a necessary way.”
Fletcher took a hasty gulp of the sherry. Even when he was in a relatively mellow mood, it appeared, Asenion was maddening. And mad. What was this new craziness now? Thiotimoline? How could that preposterous substance, as insane in its way as plutonium-186, have any bearing on the problem?
Asenion said, “I take it you know the special properties of thiotimoline?”
“Of course. Its molecule is distorted into adjacent temporal dimensions. Extends into the future, and, I think, into the past. Thiotimoline powder will dissolve in water one second before the water is added.”
“Exactly,” Asenion said. “And if the water isn’t added, it’ll go looking for it. In the future.”
“What does this have to do with—”
“Look here,” said Asenion. He drew a scrap of paper from his shirt pocket. “You want to get rid of something. You put it in this container here. You surround the container with a shell made of polymerized thiotimoline. You surround the shell with a water tank that will deliver water to the thiotimoline on a timed basis, and you set your timer so that the water is due to arrive a few seconds from now. But at the last moment the timing device withholds the water.”
Fletcher stared at the younger man in awe.
Asenion said, “The water is always about to arrive, but never quite does. The thiotimoline making up the plastic shell is pulled forward one second into the future to encounter the water. The water has a high probability of being there, but not quite high enough. It’s actually another second away from delivery, and always will be. The thiotimoline gets dragged farther and farther into the future. The world goes forward into the future at a rate of one second per second, but the thiotimoline’s velocity is essentially infinite. And of course it carries with it the inner container, too.”
“In which we have put our surplus plutonium-186.”
“Or anything else you want to dispose of,” said Asenion.
Fletcher felt dizzy. “Which will travel on into the future at an infinite rate—”
“Yes. And because the rate is infinite, the problem of the breakdown of thiotimoline into its stable isochronic form, which has hampered most time-transport experiments, isn’t an issue. Something traveling through time at an infinite velocity isn’t subject to little limitations of that kind. It’ll simply keep going until it can’t go any farther.”
“But how does sending it into the future solve the problem?” Fletcher asked. “The plutonium-186 still stays in our universe, even if we’ve bumped it away from our immediate temporal vicinity. The electron loss continues. Maybe even gets worse, under temporal acceleration. We still haven’t dealt with the fundamental—”
“You never were much of a thinker, were you, Fletcher?” said Asenion quietly, almost gently. But the savage contempt in his eyes had the force of a sun going nova.
“I do my best. But I don’t see—”
Asenion sighed. “The thiotimoline will chase the water in the outer container to the end of time, carrying with it the plutonium in the inner container. To the end of time. Literally.”
“And?”
“What happens at the end of time, Fletcher?”
“Why—absolute entropy—the heat-death of the universe—”
“Precisely. The Final Entropic Solution. All molecules equally distributed throughout space. There will be no further place for the water-seeking thiotimoline to go. The end of the line is the end of the l
ine. It, and the plutonium it’s hauling with it, and the water it’s trying to catch up with, will all plunge together over the entropic brink into antitime.”
“Antitime,” said Fletcher in a leaden voice. “Antitime?”
“Naturally. Into the moment before the creation of the universe. Everything is in stasis. Zero time, infinite temperature. All the universal mass contained in a single incomprehensible body. Then the thiotimoline and the plutonium and the water arrive.” Asenion’s eyes were radiant. His face was flushed. He waved his scrap of paper around as though it were the scripture of some new creed. “There will be a tremendous explosion. A Big Bang, so to speak. The beginning of all things. You—or should I say I?—will be responsible for the birth of the universe.”
Fletcher, stunned, said after a moment, “Are you serious?”
“I am never anything but serious. You have your solution. Pack up your plutonium and send it on its way. No matter how many shipments you make, they’ll all arrive at the same instant. And with the same effect. You have no choice, you know. The plutonium must be disposed of. And—” His eyes twinkled with some of the old Asenion playfulness. “The universe must be created, or else how will any of us get to be where we are? And this is how it was done. Will be done. Inevitable, ineluctable, unavoidable, mandatory. Yes? You see?”
“Well, no. Yes. Maybe. That is, I think I do,” said Fletcher, as if in a daze.
“Good. Even if you don’t, you will.”
“I’ll need—to talk to the others—”
“Of course you will. That’s how you people do things. That’s why I’m here and you’re there.” Asenion shrugged. “Well, no hurry about it. Create the universe tomorrow, create it the week after next, what’s the difference? It’ll get done sooner or later. It has to, because it already has been done. You see?”
“Yes. Of course. Of—course. And now—if you’ll excuse me—” Fletcher murmured. “I—ah—have a dinner appointment in a little while—”
“That can wait too, can’t it?” said Asenion, smiling with sudden surprising amiability. He seemed genuinely glad to have been of assistance. “There’s something I forgot to show you this afternoon. A remarkable plant, possibly unique—a nidularium, it is, Brazilian, not even named yet, as a matter of fact—just coming into bloom. And this one—wait till you see it, Fletcher, wait till you see it—”
WE ARE FOR THE DARK
Where do story ideas come from? the non-writer often asks. And the writer’s usual answer is a bemused shrug. But in this instance I can reply very precisely.
My wife and I were visiting London in September of 1987 and of course we were spending virtually every evening at the theatre and some afternoons besides. On the next to last day of our stay we were at the National Theatre, on the south side of the Thames, to see Anthony Hopkins and Judi Dench in Antony and Cleopatra, a wondrous, magical matinee performance. Act Five came around, Cleopatra’s great catastrophe, and her serving-maid Iras signaled the beginning of the final act with lines long familiar to me:
Finish, good lady; the bright day is done.
And we are for the dark.
A mysterious shiver ran through me at those words, we are for the dark. I had seen the play half a dozen times or more over the years, and they had never seemed unusual to me before; but, hearing them now, I suddenly saw great vistas of black space opening before me. Later that splendid afternoon, strolling back across the bridge toward the heart of the city under brilliant summer sunshine, I found myself continuing to dwell on the vistas that Shakespeare’s five words had evoked for me, and soon I was taking notes for a story that had absolutely nothing to do with the travails of Cleopatra or Antony.
That was the engendering point. The other details followed quickly enough, all but the mechanism of the matter-transmission system around which the interstellar venture of the story was to be built. That had to wait until January of the following year. Now I was in Los Angeles, resting and reading before going out to dinner, and suddenly I found myself scribbling down stuff about the spontaneous conversion of matter into antimatter and a necessary balancing conversion in the opposite direction. Whether any such thing is actually the case is beyond my own scientific expertise, though I suspect it’s nonsense, but at least the idea seemed plausible enough to work with, and very quickly I had built an entire method of faster-than-light travel out of it—one which is probably utterly unfeasible in the real universe but would serve well enough in my fictional one. I wrote the story in March of 1988 and Gardner Dozois published it in the October, 1988 Isaac Asimov’s Science Fiction Magazine. For me it had some of the sweep and grandeur that first had drawn me to science fiction as a reader more than forty years before, and it pleased me greatly on that account. I thought that it might attract some attention among readers, but, oddly, it seemed to pass almost unnoticed—no awards nominations, no year’s-best selection. Which puzzled me; but eventually I put the matter out of mind. Stories of mine that I had thought of as quite minor indeed had gone on to gain not only awards nominations but, more than once, the awards themselves; stories that had seemed to me to be failures when I wrote them had been reprinted a dozen times over in later years; and, occasionally, a story that moved me profoundly as I composed it had gone straight from publication to oblivion almost as if it had never existed at all. We Are for the Dark seems to have been one of those, though I still have hope for its rediscovery.
But the moral is clear, at least to me: write what satisfies you and let the awards and anthologizations take care of themselves, because there’s no way of predicting what kind of career a story will have. Strive always to do your best, and, when you believe that you have, allow yourself the pleasure of your own approval. If readers happen to share your delight in your own work, that’s a bonus in which to rejoice, but it’s folly ever to expect others to respond to your work in the same way you do yourself.
——————
Great warmth comes from him, golden cascades of bright, nurturing energy. The Master is often said to be like a sun, and so he is, a luminous creature, a saint, a sun indeed. But warmth is not the only thing that emanates from suns. They radiate at many frequencies of the spectrum, hissing and crackling and glaring like furnaces as they send forth the angry power that withers, the power that kills. The moment I enter the Master’s presence I feel that other force, that terrible one, flowing from him. The air about him hums with it, though the warmth of him, the benevolence, is evident also. His power is frightful. And yet all he is is a man, a very old one at that, with a smooth round hairless head and pale, mysteriously gentle eyes. Why should I fear him? My faith is strong. I love the Master. We all love him.
This is only the fifth time I have met him. The last was seven years ago, at the time of the Altair launch. We of the other House rarely have reason to come to the Sanctuary, or they to us. But he recognizes me at once, and calls me by name, and pours cool clear golden wine for me with his own hand. As I expect, he says nothing at first about his reason for summoning me. He talks instead of his recent visit to the Capital, where great swarms of ragged hungry people trotted tirelessly alongside his palanquin as he was borne in procession, begging him to send them into the Dark. “Soon, soon, my children,” is what he tells me now that he told them then. “Soon we will all go to our new dwelling-places in the stars.” And he wept, he says, for sheer joy, feeling the intensity of their love for him, feeling their longing for the new worlds to which we alone hold the keys. It seems to me that he is quietly weeping now, telling me these things.
Behind his desk is a star-map of extraordinary vividness and detail, occupying the rear wall of his austere chamber. Indeed, it is the rear wall: a huge curving shield of some gleaming dark substance blacker than night, within which I can see our galaxy depicted, its glittering core, its spiraling arms. Many of the high-magnitude stars shine forth clearly in their actual colors. Beyond, sinking into the depths of the dark matrix in a way that makes the map seem to stretch outward to
infinity, are the neighboring galaxies, resting in clouds of shimmering dust. More distant clusters and nebulae are visible still farther from the map’s center. As I stare, I feel myself carried on and on to the outermost ramparts of the universe. I compliment him on the ingenuity of the map, and on its startling realism.
But that seems to be a mistake. “Realism? This map?” the Master cries, and the energies flickering around him grow fierce and sizzling once again. “This map is nothing: a crazy hodgepodge. A lunacy. Look, this star sent us its light twelve billion years ago, and that one six billion years ago, and this other one twenty-three years ago, and we’re seeing them all at once. But this one didn’t even exist when that one started beaming its light at us. And this one may have died five billion years ago, but we won’t know it for five billion more.” His voice, usually so soft, is rising now and there is a dangerous edge on it. I have never seen him this angry. “So what does this map actually show us? Not the absolute reality of the universe but only a meaningless ragbag of subjective impressions. It shows the stars as they happen to appear to us just at this minute and we pretend that that is the actual cosmos, the true configuration.” His face has grown flushed. He pours more wine. His hand is trembling, suddenly, and I think he will miss the rim of the glass, but no: his control is perfect. We drink in silence. Another moment and he is calm again, benign as the Buddha, bathing me in the glow and luster of his spirit.
“Well, we must do the best we can within our limitations,” he says gently. “For the closer spans the map is not so useless.” He touches something on his desk and the star-map undergoes a dizzying shift, the outer clusters dropping away and the center of our own galaxy coming up until it fills the whole screen. Another flick of his finger and the inner realm of the galaxy stands out in bright highlighting: that familiar sphere, a hundred light-years in diameter, which is the domain of our Mission. A network of brilliant yellow lines cuts across the heart of it from star to star, marking the places where we have chosen to place our first receiver stations. It is a pattern I could trace from memory, and, seeing it now, I feel a sense of comfort and well-being, as though I am looking at a map of my native city.
The Collected Stories of Robert Silverberg, Volume Seven: We Are for the Dark Page 26