The Palace at Midnight: The Collected Work of Robert Silverberg, Volume Five

by Robert Silverberg

  Ugly green lines rapidly cross and recross Harahel’s screen. “By whose authority do you—”

  “It isn’t a question of authority,” Cunningham replies smoothly. “It’s a question of precision. I’ve just read Vretil into the database, and I have to code his functions. He’s the recording angel, after all. So to some degree he overlaps your territory.”

  “Ah,” says Harahel, sounding melancholy. “I was hoping you wouldn’t bother about him.”

  “How can I overlook such an important angel? ‘Scribe of the knowledge of the Most High,’ according to the Book of Enoch. ‘Keeper of the Heavenly books and records.’ ‘Quicker in wisdom than the other archangels.’”

  “If he’s so quick,” says Harahel sullenly, “give him the hardware. That’s what governs the response time, you know.”

  “I understand. But he maintains the lists. That’s data base.”

  “And where does the data base live? The hardware!”

  “Listen, this isn’t easy for me,” Cunningham says. “But I have to be fair. I know you’ll agree that some division of responsibilities is in order. And I’m giving him all data bases and related software. You keep the rest.”

  “Screens. Terminals. CPUs. Big deal.”

  “But without you, he’s nothing, Harahel. Anyway, you’ve always been in charge of cabinets, haven’t you?”

  “And archives and libraries,” the angel says. “Don’t forget that.”

  “I’m not. But what’s a library? Is it the books and shelves and stacks, or the words on the pages? We have to distinguish the container from the thing contained.”

  “A grammarian.” Harahel sighs. “A hair-splitter. A casuist.”

  “Look, Vretil wants the hardware, too. But he’s willing to compromise. Are you?”

  “You start to sound less and less like our programmer and more and more like the Almighty every day,” says Harahel.

  “Don’t blaspheme,” Cunningham tells him. “Please. Is it agreed? Hardware only?”

  “You win,” says the angel. “But you always do, naturally.”

  Naturally. Cunningham is the one with his hands on the keyboard, controlling things. The angels, though they are eloquent enough and have distinct and passionate personalities, are mere magnetic impulses deep within. In any contest with Cunningham they don’t stand a chance. Cunningham, though he tries always to play the game by the rules, knows that, and so do they.

  It makes him uncomfortable to think about it, but the role he plays is definitely godlike in all essential ways. He puts the angels into the computer; he gives them their tasks, their personalities, and their physical appearances; he summons them or leaves them uncalled, as he wishes.

  A godlike role, yes. But Cunningham resists confronting that notion. He does not believe he is trying to be God; he does not even want to think about God. His family had been on comfortable terms with God—Uncle Tim was a priest, there was an archbishop somewhere back a few generations, his parents and sisters moved cozily within the divine presence as within a warm bath—but he himself, unable to quantify the Godhead, preferred to sidestep any thought of it. There were other, more immediate matters to engage his concern. His mother had wanted him to go into the priesthood, of all things, but Cunningham had averted that by demonstrating so visible and virtuosic a skill at mathematics that even she could see he was destined for science. Then she had prayed for a Nobel Prize in physics for him; but he had preferred computer technology. “Well,” she said, “a Nobel in computers. I ask the Virgin daily.”

  “There’s no Nobel in computers, Mom,” he told her. But he suspects she still offers novenas for it.

  The angel project had begun as a lark, but had escalated swiftly into an obsession. He was reading Gustav Davidson’s old Dictionary of Angels, and when he came upon the description of the angel Adramelech, who had rebelled with Satan and had been cast from heaven, Cunningham thought it might be amusing to build his computer simulation and talk with it. Davidson said that Adramelech was sometimes shown as a winged and bearded lion, and sometimes as a mule with feathers, and sometimes as a peacock, and that one poet had described him as “the enemy of God, greater in malice, guile, ambition, and mischief than Satan, a fiend more curst, a deeper hypocrite.” That was appealing. Well, why not build him? The graphics were easy—Cunningham chose the winged-lion form—but getting the personality constructed involved a month of intense labor and some consultations with the artificial-intelligence people over at Kestrel Institute. But finally Adramelech was on line, suave and diabolical, talking amiably of his days as an Assyrian god and his conversations with Beelzebub, who had named him Chancellor of the Order of the Fly (Grand Cross).

  Next, Cunningham did Asmodeus, another fallen angel, said to be the inventor of dancing, gambling, music, drama, French fashions, and other frivolities. Cunningham made him look like a very dashing Beverly Hills Iranian, with a pair of tiny wings at his collar. It was Asmodeus who suggested that Cunningham continue the project; so he brought Gabriel and Raphael on line to provide some balance between good and evil, and then Forcas, the angel who renders people invisible, restores lost property, and teaches logic and rhetoric in Hell; and by that time Cunningham was hooked.

  He surrounded himself with arcane lore: M.R. James’s editions of the Apocrypha, Waite’s Book of Ceremonial Magic and Holy Kabbalah, the Mystical Theology and Celestial Hierarchies of Dionysius the Areopagite, and dozens of related works that he called up from the Stanford data base in a kind of manic fervor. As he codified his systems, he became able to put in five, eight, a dozen angels a night; one June evening, staying up well past his usual time, he managed thirty-seven. As the population grew, it took on weight and substance, for one angel cross-filed another, and they behaved now as though they held long conversations with one another even when Cunningham was occupied elsewhere.

  The question of actual belief in angels, like that of belief in God Himself, never arose in him. His project was purely a technical challenge, not a theological exploration. Once, at lunch, he told a coworker what he was doing, and got a chilly blank stare. “Angels? Angels? Flying around with big flapping wings, passing miracles? You aren’t seriously telling me that you believe in angels, are you, Dan?”

  To which Cunningham replied, “You don’t have to believe in angels to make use of them. I’m not always sure I believe in electrons and protons. I know I’ve never seen any. But I make use of them.”

  “And what use do you make of angels?”

  But Cunningham had lost interest in the discussion.

  He divides his evenings between calling up his angels for conversations and programming additional ones into his pantheon. That requires continuous intensive research, for the literature of angels is extraordinarily large, and he is thorough in everything he does. The research is time-consuming, for he wants his angels to meet every scholarly test of authenticity. He pores constantly over such works as Ginzberg’s seven-volume Legends of the Jews, Clement of Alexandria’s Prophetic Eclogues, Blavatsky’s The Secret Doctrine.

  It is the early part of the evening. He brings up Hagith, ruler of the planet Venus and commander of 4,000 legions of spirits, and asks him details of the transmutation of metals, which is Hagith’s specialty. He summons Hadraniel, who in Kabbalistic lore is a porter at the second gate of Heaven, and whose voice, when he proclaims the will of the Lord, penetrates through 200,000 universes; he questions the angel about his meeting with Moses, who uttered the Supreme Name at him and made him tremble. And then Cunningham sends for Israfel the four-winged, whose feet are under the seventh earth, and whose head reaches to the pillars of the divine throne. It will be Israfel’s task to blow the trumpet that announces the arrival of the Day of Judgment. Cunningham asks him to take a few trial riffs now—“just for practice,” he says, but Israfel declines, saying he cannot touch his instrument until he receives the signal, and the command sequence for that, says the angel, is nowhere to be found in the software Cunningham has thus
far constructed.

  When he wearies of talking with the angels, Cunningham begins the evening’s programming. By now the algorithms are second nature and he can enter angels into the computer in a matter of minutes, once he has done the research. This evening he inserts nine more. Then he opens a beer, sits back, lets the day wind to its close.

  He thinks he understands why he has become so intensely involved with this enterprise. It is because he must contend each day in his daily work with matters of terrifying apocalyptic import: nothing less, indeed, than the impending destruction of the world. Cunningham works routinely with megadeath simulation. For six hours a day he sets up hypothetical situations in which Country A goes into alert mode, expecting an attack from Country B, which thereupon begins to suspect a preemptive strike and commences a defensive response, which leads Country A to escalate its own readiness, and so on until the bombs are in the air. He is aware, as are many thoughtful people both in Country A and Country B, that the possibility of computer-generated misinformation leading to a nuclear holocaust increases each year, as the time window for correcting a malfunction diminishes. Cunningham also knows something that very few others do, or perhaps no one else at all: that it is now possible to send a signal to the giant computers—to Theirs or Ours, it makes no difference—that will be indistinguishable from the impulses that an actual flight of airborne warhead-bearing missiles would generate. If such a signal is permitted to enter the system, a minimum of eleven minutes, at the present time, will be needed to carry out fail-safe determination of its authenticity. That, at the present time, is too long to wait to decide whether the incoming missiles are real: a much swifter response is required.

  Cunningham, when he designed his missile-simulating signal, thought at once of erasing his work. But he could not bring himself to do that: the program was too elegant, too perfect. On the other hand, he was afraid to tell anyone about it, for fear that it would be taken beyond his level of classification at once, and sealed away from him. He does not want that, for he dreams of finding an antidote for it, some sort of resonating inquiry mode that will distinguish all true alarms from false. When he has it, if he ever does, he will present both modes, in a single package, to Defense. Meanwhile, he bears the burden of suppressing a concept of overwhelming strategic importance. He has never done anything like that before. And he does not delude himself into thinking his mind is unique: if he could devise something like this, someone else probably could do it also, perhaps someone on the other side. True, it is a useless, suicidal program. But it would not be the first suicidal program to be devised in the interests of military security.

  He knows he must take his simulator to his superiors before much more times goes by. And under the strain of that knowledge, he is beginning to show distinct signs of erosion. He mingles less and less with other people; he has unpleasant dreams and occasional periods of insomnia; he has lost his appetite and looks gaunt and haggard. The angel project is his only useful diversion, his chief distraction, his one avenue of escape.

  For all his scrupulous scholarship, Cunningham has not hesitated to invent a few angels of his own. Uraniel is one of his: the angel of radioactive decay, with a face of whirling electron shells. And he has coined Dimitrion too: the angel of Russian literature, whose wings are sleighs and whose head is a snow-covered samovar. Cunningham feels no guilt over such whimsies. It is his computer, after all, and his program. And he knows he is not the first to concoct angels. Blake engendered platoons of them in his poems: Urizen and Orc and Enitharmon and more. Milton, he suspects, populated Paradise Lost with dozens of sprites of his own invention. Gurdjieff and Alastair Crowley and even Pope Gregory the Great had their turns at amplifying the angelic roster: why, then, not also Dan Cunningham of Palo Alto, California? So from time to time he works one up on his own. His most recent is the dread high lord Basileus, to whom Cunningham has given the title of Emperor of the Angels. Basileus is still incomplete: Cunningham has not arrived at his physical appearance, nor his specific functions, other than to make him the chief administrator of the angelic horde. But there is something unsatisfactory about imagining a new archangel, when Gabriel, Raphael, and Michael already constitute the high command. Basileus needs more work. Cunningham puts him aside, and begins to key in Duma, the angel of silence and of the stillness of death, thousand-eyed, armed with a fiery rod. His style in angels is getting darker and darker.

  On a misty, rainy night in late October, a woman from San Francisco whom he knows in a distant, occasional way phones to invite him to a party. Her name is Joanna; she is in her mid-thirties, a biologist working for one of the little gene-splicing outfits in Berkeley; Cunningham had had a brief and vague affair with her five or six years back, when she was at Stanford, and since then they have kept fitfully in touch, with long intervals elapsing between meetings. He has not seen her or heard from her in over a year. “It’s going to be an interesting bunch,” she tells him. “A futurologist from New York, Thomson the sociobiology man, a couple of video poets, and someone from the chimpanzee language outfit, and I forget the rest, but they all sounded first-rate.”

  Cunningham hates parties. They bore and jangle him. No matter how first-rate the people are, he thinks, real interchange of ideas is impossible in a large random group, and the best one can hope for is some pleasant low-level chatter. He would rather be alone with his angels than waste an evening that way.

  On the other hand, it has been so long since he has done anything of a social nature that he has trouble remembering what the last gathering was. As he had been telling himself all his life, he needs to get out more often. He likes Joanna and it’s about time they got together, he thinks, and he fears that if he turns her down she may not call again for years. And the gentle patter of the rain, coming on this mild evening after the long dry months of summer, has left him feeling uncharacteristically relaxed, open, accessible.

  “All right,” he says. “I’ll be glad to go.”

  The party is in San Mateo, on Saturday night. He takes down the address. They arrange to meet there. Perhaps she’ll come home with him afterward, he thinks: San Mateo is only fifteen minutes from his house, and she’ll have a much longer drive back up to San Francisco. The thought surprises him. He had supposed he had lost all interest in her that way; he had supposed he had lost all interest in anyone that way, as a matter of fact.

  Three days before the party, he decides to call Joanna and cancel. The idea of milling about in a roomful of strangers appalls him. He can’t imagine, now, why he ever agreed to go. Better to stay home alone and pass a long rainy night designing angels and conversing with Uriel, Ithuriel, Raphael, Gabriel.

  But as he goes toward the telephone, that renewed hunger for solitude vanishes as swiftly as it came. He does want to go to the party. He does want to see Joanna: very much, indeed. It startles him to realize that he positively yearns for some change in his rigid routine, some escape from his little apartment, its elaborate computer hookup, even its angels.

  Cunningham imagines himself at the party, in some brightly lit room in a handsome redwood-and-glass house perched in the hills above San Mateo. He stands with his back to the vast sparkling wraparound window, a drink in his hand, and he is holding forth, dominating the conversation, sharing his rich stock of angel lore with a fascinated audience.

  “Yes, three hundred million of them,” he is saying, “and each with his fixed function. Angels don’t have free will, you know. It’s Church doctrine that they’re created with it, but at the moment of their birth they’re given the choice of opting for God or against Him, and the choice is irrevocable. Once they’ve made it they’re unalterably fixed, for good or for evil. Oh, and angels are born circumcised, too. At least the Angels of Sanctification and the Angels of Glory are, and probably the seventy Angels of the Presence.”

  “Does that mean that all angels are male?” asks a slender dark-haired woman.

  “Strictly speaking, they’re bodiless and therefore without s
ex,” Cunningham tells her. “But in fact the religions that believe in angels are mainly patriarchical ones, and when the angels are visualized they tend to be portrayed as men. Although some of them, apparently, can change sex at will. Milton tells us that in Paradise Lost: ‘Spirits when they please can either sex assume, or both; so soft and uncompounded is their essence pure.’ And some angels seem to be envisioned as female in the first place. There’s the Shekinah, for instance, ‘the bride of God,’ the manifestation of His glory indwelling in human beings. There’s Sophia, the angel of wisdom. And Lilith, Adam’s first wife, the demon of lust—”

  “Are demons considered angels, then?” a tall professorial-looking man wants to know.

  “Of course. They’re the angels who opted away from God. But they’re angels nevertheless, even if we mortals perceive their aspects as demonic or diabolical.”

  He goes on and on. They all listen as though he is God’s own messenger. He speaks of the hierarchies of angels—the seraphim, cherubim, thrones, dominations, principalities, powers, virtues, archangels, and angels—and he tells them of the various lists of the seven great angels, which differ so greatly once one gets beyond Michael, Gabriel, and Raphael, and he speaks of the 90,000 angels of destruction and the 300 angels of light, he conjures up the seven angels with seven trumpets from the Book of Revelation, he tells them which angels rule the seven days of the week and which the hours of the days and night, he pours forth the wondrous angelic names, Zadkiel, Hashmal, Orphaniel, Jehudiel, Phaleg, Zagzagel. There is no end to it. He is in his glory. He is a fount of arcana. Then the manic mood passes. He is alone in his room; there is no eager audience. Once again he thinks he will skip the party. No. No. He will go. He wants to see Joanna.