They say power corrupts; and absolute power corrupts absolutely. And there can be no more absolute power than the twenty-three words that can free a man of any jail or give him anything he wants. Larry was my friend. But I killed him in cold blood, knowing what I did, because he could not be trusted with the secret that could make him king of the world.
But I can.
Day Million, by Frederik Pohl
Rogue, February 1966
On this day I want to tell you about, which will be about a thousand years from now, there were a boy, a girl and a love story.
Now although I haven't said much so far, none of it is true. The boy was not what you and I would normally think of as a boy, because he was a hundred and eighty-seven years old. Nor was the girl a girl, for other reasons; and the love story did not entail that sublimation of the urge to rape and concurrent postponement of the instinct to submit which we at present understand in such matters. You won't care much for this story if you don't grasp these facts at once. If, however, you will make the effort, you'll likely enough find it jam-packed, chockfull and tiptop-crammed with laughter, tears and poignant sentiment which may, or may not, be worth while. The reason the girl was not a girl was that she was a boy.
How angrily you recoil from the page! You say, who the hell wants to read about a pair of queers? Calm yourself. Here are no hot-breathing secrets of perversion for the coterie trade. In fact, if you were to see this girl, you would not guess that she was in any sense a boy. Breasts, two; vagina, one. Hips, Callipygean; face, hairless; supra-orbital lobes, non-existent. You would term her female at once, although it is true that you might wonder just what species she was a female of, being confused by the tail, the silky pelt or the gill slits behind each ear.
Now you recoil again. Cripes, man, take my word for it. This is a sweet kid, and if you, as a normal male, spent as much as an hour in a room with her, you would bend heaven and earth to get her in the sack. Dora (we will call her that; her "name" was omicron-Dibase seven-group-totter-oot S. Doradus 5314, the last part of which is a color specification corresponding to a shade of green)—Dora, I say, was feminine, charming and cute. I admit she doesn't sound that way. She was, as you might put it, a dancer. Her art involved qualities of intellection and expertise of a very high order, requiring both tremendous natural capacities and endless practice; it was performed in null-gravity and I can best describe it by saying that it was something like the performance of a contortionist and something like classical ballet, maybe resembling Danilova's dying swan. It was also pretty damned sexy. In a symbolic way, to be sure; but face it, most of the things we call "sexy" are symbolic, you know, except perhaps an exhibitionist's open fly. On Day Million when Dora danced, the people who saw her panted; and you would too.
About this business of her being a boy. It didn't matter to her audiences that genetically she was male. It wouldn't matter to you, if you were among them, because you wouldn't know it—not unless you took a biopsy cutting of her flesh and put it under an electron-microscope to find the XY chromosome—and it didn't matter to them because they didn't care. Through techniques which are not only complex but haven't yet been discovered, these people were able to determine a great deal about the aptitudes and easements of babies quite a long time before they were born—at about the second horizon of cell-division, to be exact, when the segmenting egg is becoming a free blastocyst—and then they naturally helped those aptitudes along. Wouldn't we? If we find a child with an aptitude for music we give him a scholarship to Juilliard. If they found a child whose aptitudes were for being a woman, they made him one. As sex had long been dissociated from reproduction this was relatively easy to do and caused no trouble and no, or at least very little, comment.
How much is "very little"? Oh, about as much as would be caused by our own tampering with Divine Will by filling a tooth. Less than would be caused by wearing a hearing aid. Does it still sound awful? Then look closely at the next busty babe you meet and reflect that she may be a Dora, for adults who are genetically male but somatically female are far from unknown even in our own time. An accident of environment in the womb overwhelms the blueprints of heredity. The difference is that with us it happens only by accident and we don't know about it except rarely, after close study; whereas the people of Day Million did it often, on purpose, because they wanted to.
Well, that's enough to tell you about Dora. It would only confuse you to add that she was seven feet tall and smelled of peanut butter. Let us begin our story.
On Day Million Dora swam out of her house, entered a transportation tube, was sucked briskly to the surface in its flow of water and ejected in its plume of spray to an elastic platform in front of her—ah—call it her rehearsal hall. "Oh, shit!" she cried in pretty confusion, reaching out to catch her balance and find herself tumbled against a total stranger, whom we will call Don.
They met cute. Don was on his way to have his legs renewed. Love was the farthest thing from his mind; but when, absent-mindedly taking a short cut across the landing platform for submarinites and finding himself drenched, he discovered his arms full of the loveliest girl he had ever seen, he knew at once they were meant for each other. "Will you marry me?" he asked. She said softly, "Wednesday," and the promise was like a caress.
Don was tall, muscular, bronze and exciting. His name was no more Don than Dora's was Dora, but the personal part of it was Adonis in tribute to his vibrant maleness, and so we will call him Don for short. His personality color-code, in Angstrom units, was 5290, or only a few degrees bluer than Dora's 5314, a measure of what they had intuitively discovered at first sight, that they possessed many affinities of taste and interest.
I despair of telling you exactly what it was that Don did for a living—I don't mean for the sake of making money, I mean for the sake of giving purpose and meaning to his life, to keep him from going off his nut with boredom—except to say that it involved a lot of traveling. He traveled in interstellar spaceships. In order to make a spaceship go really fast about thirty-one male and seven genetically female human beings had to do certain things, and Don was one of the thirty-one. Actually he contemplated options. This involved a lot of exposure to radiation flux—not so much from his own station in the propulsive system as in the spillover from the next stage, where a genetic female preferred selections and the subnuclear particles making the selections she preferred demolished themselves in a shower of quanta. Well, you don't give a rat's ass for that, but it meant that Don had to be clad at all times in a skin of light, resilient, extremely strong copper-colored metal. I have already mentioned this, but you probably thought I meant he was sunburned.
More than that, he was a cybernetic man. Most of his ruder parts had been long since replaced with mechanisms of vastly more permanence and use. A cadmium centrifuge, not a heart, pumped his blood. His lungs moved only when he wanted to speak out loud, for a cascade of osmotic filters rebreathed oxygen out of his own wastes. In a way, he probably would have looked peculiar to a man from the twentieth century, with his glowing eyes and seven-fingered hands; out to himself, and of course to Dora, he looked mighty manly and grand. In the course of his voyages Don had circled Proxima Centauri, Procyon and the puzzling worlds of Mira Ceti; he had carried agricultural templates to the planets of Canopus and brought back warm, witty pets from the pale companion of Aldebaran. Blue-hot or red-cool, he had seen a thousand stars and their ten thousand planets. He had, in fact, been traveling the starlanes with only brief leaves on Earth for pushing two centuries. But you don't care about; that, either. It is people that make stories, not the circumstances they find themselves in, and you want to hear about these two people. Well, they made it. The great thing they had for each other grew and; flowered and burst into fruition on Wednesday, just as Dora had promised. They met at the encoding room, with a couple of well-wishing friends apiece to cheer them on, and while their identities were being taped and stored they smiled and whispered to each other and bore the jokes of their friends
with blushing repartee. Then they exchanged their mathematical analogues and went away, Dora to her dwelling beneath the surface of the sea and Don to his ship.
It was an idyll, really. They lived happily ever after—or anyway, until they decided not to bother any more and died.
Of course, they never set eyes on each other again.
Oh, I can see you now, you eaters of charcoal-broiled steak, scratching an incipient bunion with one hand and holding this story with the other, while the stereo plays d'Indy or Monk. You don't believe a word of it, do you? Not for one minute. People wouldn't live like that, you say with an irritated and not amused grunt as you get up to put fresh ice in a stale drink.
And yet there's Dora, hurrying back through the flushing commute pipes toward her underwater home (she prefers it there; has had herself somatically altered to breathe the stuff). If I tell you with what sweet fulfillment she fits the recorded analogue of Don into the symbol manipulator, hooks herself in and turns herself on . . . if try to tell you any of that you will simply stare. Or glare; and grumble, what the hell kind of love-making is this? And yet I assure you, friend, I really do assure you that Dora's ecstasies are as creamy and passionate as any of James Bond's lady spies, and one hell of a lot more so than anything you are going to find in "real life." Go ahead, and grumble. Dora doesn't care. If she thinks of you at all, her thirty times-great-great-grandfather, she thinks you're a pretty primordial sort of brute. You are. Why, Dora is farther removed from you than you are from the australopithecines of five thousand centuries ago. You could not swim a second in the strong currents of her life. You don't think progress goes in a straight line, do you? Do you recognize that it is an ascending, accelerating, maybe even exponential curve? It takes hell's own time to get started, but when it goes it goes like a bomb. And you, you Scotch-drinking steak-eater in your Relaxacizer chair, you've just barely lighted the primacord of the fuse. What is it now, the six or seven hundred thousandth day after Christ? Dora lives in Day Million. A thousand years from now. Her body fats are polyunsaturated, like Crisco. Her wastes are hemodialyzed out of her bloodstream while she sleeps—that means she doesn't have to go to the bathroom. On whim, to pass a slow half-hour, she can command more energy than the entire nation of Portugal can spend today, and use it to launch a weekend satellite or remold a crater on the Moon. She loves Don very much. She keeps his every gesture, mannerism, nuance, touch of hand, thrill of intercourse, passion of kiss stored in symbolic-mathematical form. And when she wants him, all she has to do is turn the machine on and she has him.
And Don, of course, has Dora. Adrift on a sponson city a few hundred yards over her head or orbiting Arcturus, fifty light-years away, Don has only to command his own symbol-manipulator to rescue Dora from the ferrite files and bring her to life for him, and there she is; and rapturously, tirelessly they ball all night. Not in the flesh, of course; but then his flesh has been extensively altered and it wouldn't really be much fun. He doesn't need the flesh for pleasure. Genital organs feel nothing. Neither do hands, nor breasts, nor lips; they are only receptors, accepting and transmitting impulses. It is the brain that feels, it is the interpretation of those impulses that makes agony or orgasm; and Don's symbol-manipulator gives him the analogue of cuddling, the analogue of kissing, the analogue of wildest, most ardent hours with the eternal, exquisite and incorruptible analogue of Dora. Or Diane. Or sweet Rose, or laughing Alicia; for to be sure, they have each of them exchanged analogues before, and will again.
Balls, you say, it looks crazy to me. And you—with your aftershave lotion and your little red car, pushing papers across a desk all day and chasing tail all night—tell me, just how the hell do you think you would look to Tiglath-Pileser, say, or Attila the Hun?
FRANK HERBERT
Frank Herbert (1920-1986) created the most beloved novel in the annals of science fiction, DUNE. He was a man of many facets, of countless passageways that ran through an intricate mind. His magnum opus is a reflection of this, a classic work that stands as one of the most complex, multi-layered novels ever written in any genre. Today the novel is more popular than ever, with new readers continually discovering it and telling their friends to pick up a copy. It has been translated into dozens of languages and has sold almost 20 million copies.
As a child growing up in Washington state, Frank Herbert was curious about everything. He carried around a Boy Scout pack with books in it, and he was always reading. He loved Rover Boys adventures, as well as the stories of H.G. Wells, Jules Verne, and the science fiction of Edgar Rice Burroughs. On his eighth birthday, Frank stood on top of the breakfast table at his family home and announced,"I wanna be a author."
His maternal grandfather, John McCarthy, said of the boy, "It's frightening. A kid that small shouldn't be so smart." Young Frank was not unlike Alia in DUNE, a person having adult comprehension in a child's body. In grade school he was the acknowledged authority on everything. If his classmates wanted to know the answer to something, such as about sexual functions or how to make a carbide cannon, they would invariably say, "Let's ask Herbert. He'll know."
His curiosity and independent spirit got him into trouble more than once when he was growing up, and caused him difficulties as an adult as well. He did not graduate from college because he refused to take the required courses for a major; he only wanted to study what interested him. For years he had a hard time making a living, bouncing from job to job and from town to town. He was so independent that he refused to write for a particular market; he wrote what he felt like writing. It took him six years of research and writing to complete DUNE, and after all that struggle and sacrifice, 23 publishers rejected it in book form before it was finally accepted. He received an advance of only $7,500.
His loving wife of 37 years, Beverly, was the breadwinner much of the time, as an underpaid advertising writer for department stores. Having been divorced from his first wife, Flora Parkinson, Frank Herbert met Beverly Stuart at a University of Washington creative writing class in 1946. At the time they were the only students in the class who had sold their work for publication. Frank had sold two pulp adventure stories to magazines, one to Esquire and the other to Doc Savage. Beverly had sold a story to Modern Romance magazine. These genres reflected the interests of the two young lovers; he the adventurer, the strong, machismo man, and she the romantic, exceedingly feminine and soft-spoken.
Their marriage would produce two sons, Brian, born in 1947, and Bruce, born in 1951. Frank also had a daughter, Penny, born in 1942 from his first marriage. For more than two decades Frank and Beverly would struggle to make ends meet, and there were many hard times. In order to pay the bills and to allow her husband the freedom he needed in order to create, Beverly gave up her own creative writing career in order to support his. They were in fact a writing team, as he discussed every aspect of his stories with her, and she edited his work. Theirs was a remarkable, though tragic, love story—which Brian would poignantly describe one day in DREAMER OF DUNE. After Beverly passed away, Frank married Theresa Shackelford.
In all, Frank Herbert wrote nearly 30 popular books and collections of short stories, including six novels set in the DUNE universe: DUNE, DUNE MESSIAH, CHILDREN OF DUNE, GOD EMPEROR OF DUNE, HERETICS OF DUNE, and CHAPTERHOUSE: DUNE. All were international bestsellers, as were a number of his other science fiction novels, including THE WHITE PLAGUE and THE DOSADI EXPERIMENT.
His major novels included THE DRAGON IN THE SEA, SOUL CATCHER (his only non-science fiction novel), DESTINATION: VOID, THE SANTAROGA BARRIER, THE GREEN BRAIN, HELLSTROM'S HIVE, WHIPPING STAR, THE EYES OF HEISENBERG, THE GODMAKERS, DIRECT DESCENT, and THE HEAVEN MAKERS. He also collaborated with Bill Ransom to write THE JESUS INCIDENT, THE LAZARUS EFFECT, and THE ASCENSION FACTOR. Frank Herbert's last published novel, MAN OF TWO WORLDS, was a collaboration with his son, Brian.
Missing Link, by Frank Herbert
The Romantics used to say that the eyes were the windows of the Soul. A good Alien Xenologist might not put i
t quite so poetically ... but he can, if he's sharp, read a lot in the look of an eye!
"We ought to scrape this planet clean of every living thing on it," muttered Umbo Stetson, section chief of Investigation & Adjustment.
Stetson paced the landing control bridge of his scout cruiser. His footsteps grated on a floor that was the rear wall of the bridge during flight. But now the ship rested on its tail fins--all four hundred glistening red and black meters of it. The open ports of the bridge looked out on the jungle roof of Gienah III some one hundred fifty meters below. A butter yellow sun hung above the horizon, perhaps an hour from setting.
"Clean as an egg!" he barked. He paused in his round of the bridge, glared out the starboard port, spat into the fire-blackened circle that the cruiser's jets had burned from the jungle.
The I-A section chief was dark-haired, gangling, with large head and big features. He stood in his customary slouch, a stance not improved by sacklike patched blue fatigues. Although on this present operation he rated the flag of a division admiral, his fatigues carried no insignia. There was a general unkempt, straggling look about him.
Lewis Orne, junior I-A field man with a maiden diploma, stood at the opposite port, studying the jungle horizon. Now and then he glanced at the bridge control console, the chronometer above it, the big translite map of their position tilted from the opposite bulkhead. A heavy planet native, he felt vaguely uneasy on this Gienah III with its gravity of only seven-eighths Terran Standard. The surgical scars on his neck where the micro-communications equipment had been inserted itched maddeningly. He scratched.
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