Death's End (The Three-Body Problem)

by Cixin Liu

  But most people also agreed that deterrence remained necessary. After the sophons unblocked the progress of human technology and the Trisolarans began transferring their knowledge to humans, human science had advanced by leaps and bounds. However, compared to Trisolaris, Earth was still behind by at least two or three technology ages. Decommissioning the deterrence system was to be considered only when the two worlds were approximately equal in technology.

  There was one more choice: turning over control of the deterrence system to artificial intelligence. This was a choice that had been evaluated seriously, and much effort was expended in researching its feasibility. Its biggest advantage was a very high degree of deterrence. But ultimately, it wasn’t adopted. Handing over the fate of two worlds to machines was a terrifying idea. Experiments showed that AIs tended not to make correct decisions when faced with the complex conditions of deterrence—unsurprising, since correct judgment required more than logical reasoning. Moreover, changing from a dictatorship-by-man to a dictatorship-by-machine wouldn’t have made people feel any better, and was politically worse. Finally, sophons could interfere with AI reasoning. Though no example of such interference had been discovered, the mere possibility made the choice inconceivable.

  A compromise was to change the Swordholder. Even without the above considerations, Luo Ji was a centenarian. His thinking and psychological state were becoming more unreliable, and people were growing uneasy that the fate of both worlds rested in his hands.

  Deterrence Era, Year 61 The Swordholder

  Cheng Xin’s recovery proceeded apace. The doctors told her that even if all ten seven-millimeter bullets in the gun had struck her, and even if her heart had been shattered, modern medicine was capable of reviving her and fixing her up good as new—though it would have been a different matter if her brain had been hit.

  The police told her that the last murder case in the world had occurred twenty-eight years ago, and this city hadn’t had a murder case in almost forty years. The police were out of practice when it came to the prevention and detection of murder, and that was why Wade had almost succeeded. Another candidate for the Swordholder position had warned the police. But Wade’s competitor had presented no proof, only a suspicion of Wade’s intent based on a sensitivity that this era lacked. The police, dubious of the accusation, wasted a lot of time. Only after discovering that Wade had faked a call from AA did they take action.

  Many people came to visit Cheng Xin at the hospital: officials from the government, the UN, and the Solar System Fleet; members of the public; and, of course, AA and her friends. By now, Cheng Xin could easily tell the sexes apart, and she was growing used to modern men’s completely feminized appearance, perceiving in them an elegance that the men of her era lacked. Still, they were not attractive to her.

  The world no longer seemed so strange, and Cheng Xin yearned to know it better, but she was stuck in her hospital room.

  One day, AA came and played a holographic movie for her. The movie, named A Fairy Tale of Yangtze, had won Best Picture at that year’s Oscars. It was based on a song composed in busuanzi verse form by the Song Dynasty poet Li Zhiyi:

  You live at one end of the Yangtze, and I the other.

  I think of you each day, beloved, though we cannot meet.

  We drink from the same river....

  The film was set in some unspecified ancient golden age, and told the story of a pair of lovers, one who lived at the source of the Yangtze, and the other at its mouth. The pair was kept apart for the entire film; they never got to see each other, not even in an imaginary scene. But their love was portrayed with utter sorrow and pathos. The cinematography was also wonderful: The elegance and refinement of the lower Yangtze Delta and the vigor and strength of the Tibetan Plateau contrasted and complemented each other, forming an intoxicating mix for Cheng Xin. The film lacked the heavy-handedness of the commercial films of her own era. Instead, the story flowed as naturally as the Yangtze itself, and absorbed Cheng Xin effortlessly.

  I’m at one end of the River of Time, Cheng Xin thought, but the other end is now empty....

  The movie stimulated Cheng Xin’s interest in the culture of her new era. Once she recovered enough to walk, AA brought her to art shows and concerts. Cheng Xin could clearly remember going to Factory 798* and the Shanghai Biennale to see strange pieces of contemporary “art,” and it was hard for her to imagine how much art had evolved in the three centuries she was asleep. But the paintings she saw at the art show were all realistic—beautiful colors enlivened with vitality and feeling. She felt each painting was like a heart, beating gently between the beauty of nature and human nature. As for the music, she thought everything she heard sounded like classical symphonies, reminding her of the Yangtze in the movie: imposing and forceful, but also calm and soothing. She stared at the flowing river until it seemed that the water had ceased moving, and it was she that was moving toward the source, a long, long way....

  The art and culture of this age were nothing like what she had imagined, but it wasn’t simply a matter of a return to classical style, either. It was more of a spiraling sublimation of post-postmodernism, built upon a new aesthetic foundation. For instance, A Fairy Tale of Yangtze contained profound metaphors for the universe and space and time. But Cheng Xin was most impressed by the disappearance of the gloomy despair and bizarre noise so prevalent in the postmodern culture and art of the twenty-first century. In their place was an unprecedented warm serenity and optimism.

  “I love your era,” said Cheng Xin. “I’m surprised.”

  “You’d be even more surprised if you knew the artists behind these films, paintings, and music. They’re all Trisolarans from four light-years away.” AA laughed uproariously as she observed Cheng Xin’s stunned gape.

  * Translator’s Note: A famous artistic community in Beijing housed in abandoned military factory buildings. Artists began to congregate there in the 1990s.

  Excerpt from A Past Outside of Time Cultural Reflection

  After the creation of deterrence, the World Academy of Sciences—an international organization at the same level as the UN—was founded to receive and digest the scientific and technical information transmitted to Earth from Trisolaris.

  People first predicted that Trisolaris would only provide knowledge to Earth in sporadic, disconnected fragments after much pressure, and sprinkle deliberate falsehoods and misleading ideas into what little they chose to share, so the scientists of Earth would have to sift through them carefully for nuggets of truth. But Trisolaris defied those expectations. Within a brief period of time, they systematically transmitted an enormous amount of knowledge. The treasure trove mainly consisted of basic scientific information, including mathematics, physics, cosmology, molecular biology of Trisolaran life forms, and so on. Every subject was a complete system.

  There was so much knowledge, in fact, that it completely overwhelmed the scientific community on Earth. Trisolaris then provided ongoing guidance for the study and absorption of this knowledge. For a while, the whole world resembled a giant university. After the sophons ended their interference with the particle accelerators, Earth scientists were able to experimentally verify the core ideas of Trisolaran physics, giving humanity confidence in the veracity of these revelations. The Trisolarans even complained multiple times that humanity was absorbing the new knowledge too slowly. The aliens seemed eager for Earth to catch up to Trisolaris in scientific understanding—at least in the basic sciences.

  Faced with such a puzzling response, humans came up with multiple explanations. The most plausible theory posited that the Trisolarans understood the advantage of the accelerating pace of human scientific development and wanted to gain access to new knowledge through us. Earth was treated as a knowledge battery: After it was charged fully with Trisolaran knowledge, it would provide more power.

  The Trisolarans explained their own actions this way: Their generous gift of knowledge was done out of respect for Earth civilization. They claimed th
at Trisolaris had received even more benefits from Earth. Human culture gave Trisolaris new eyes, allowed Trisolarans to see deeper meanings in life and civilization and appreciate the beauty of nature and human nature in ways they had not understood. Human culture was widely disseminated on Trisolaris, and was rapidly and profoundly transforming Trisolaran society, leading to multiple revolutions in half a century and changing the social structure and political system on Trisolaris to be more similar to Earth’s. Human values were accepted and respected in that distant world, and all Trisolarans were in love with human culture.

  At the beginning, humans were skeptical of these claims, but the incredible wave of cultural reflection that followed seemed to prove them true.

  After the tenth year of the Deterrence Era, besides additional scientific information, Trisolaris began to transmit cultural and artistic products done in imitation of human models: films, novels, poetry, music, paintings, and so on. Surprisingly, the imitations were not at all awkward or childish; right away, the Trisolarans produced sophisticated, high-quality art. Scholars called this phenomenon cultural reflection. Human civilization now possessed a mirror in the universe, through which humanity gained a new understanding of itself through a novel perspective. In the following ten years, Trisolaran reflection culture became popular on Earth, and began to displace the decadent native human culture that had lost its vitality. Reflection culture became the new source for scholars seeking new cultural and aesthetic ideas.

  These days, without being explicitly told, it was very hard to tell if a film or novel was authored by a human or a Trisolaran. The characters in Trisolaran artistic creations were all human, and they were set on Earth, with no trace of alienness. This seemed a powerful confirmation of the acceptance of Earth culture by Trisolaris. At the same time, Trisolaris itself remained shrouded in mystery, with almost no details about the world itself being transmitted. The Trisolarans explained this by saying that their own crude native culture was not ready to be shown to humans. Given the vast gap in biology and natural environment between the two worlds, such displays might erect unexpected barriers in the valuable exchange that was already taking place.

  Humanity was glad to see everything developing in a positive direction. A ray of sunlight lit up this corner of the dark forest.

  Deterrence Era, Year 61 The Swordholder

  On the day of Cheng Xin’s discharge, AA told her that Sophon wanted to meet her.

  Cheng Xin understood that AA wasn’t referring to the subatomic particles endowed with intelligence sent by Trisolaris, but to a woman, a robot woman developed by the most advanced human AI and bionics technology. She was controlled by the sophons and acted as the Trisolaran ambassador to Earth. Her appearance facilitated a more natural interchange between the two worlds than having sophons manifest themselves by unfolding in lower dimensions.

  Sophon lived on a giant tree at the edge of the city. Viewed from the flying car, the leaves on the tree were sparse, as though it were late autumn. Sophon lived on the branch at the top, where a single leaf hung, an elegant dwelling made of bamboo and surrounded by a white cloud. The day was cloudless, and it was clear that Sophon’s house generated the white mist.

  Cheng Xin and AA walked along the branch until they reached the tip. The road was lined with smooth pebbles, and they saw lush lawns on both sides. They descended a spiraling staircase to reach the door of the house itself, where Sophon welcomed them. The gorgeous Japanese kimono on her petite figure resembled a layer of blooming flowers, but when Cheng Xin saw her face, the flowers seemed to lose color. Cheng Xin could not imagine a more perfect beauty, a beauty animated by a lively soul. She smiled, and it was as though a breeze stirred a pond in spring and the gentle sunlight broke into a thousand softly undulating fragments. Slowly, Sophon bowed to them, and Cheng Xin felt her entire figure illustrated the Chinese character 柔, or soft, in both shape and meaning.

  “Welcome, welcome! I wanted to pay a visit to your honored abode, but then I wouldn’t be able to properly entertain you with the Way of Tea. Please accept my humble apologies. I am so delighted to see you.” Sophon bowed again. Her voice was as gentle and soft as her body, barely audible, but it possessed an irresistible charm, as if all other voices had to pause and step aside when she spoke.

  The pair followed Sophon into the yard. The tiny white flowers in her bun quivered, and she turned around to smile at them from time to time. Cheng Xin had completely forgotten that she was an alien invader, that she was controlled by a powerful world four light-years away. All she saw was a lovely woman, distinguished by her overwhelming femininity, like a concentrated pigment pellet that could turn a whole lake pink.

  Bamboo groves lined both sides of the trail through the yard. A white fog hung among the bamboo, which reached about waist-high and undulated. They crossed a little wooden bridge over a trickling spring, and Sophon stepped to the side, bowed, and showed them into the parlor. The parlor was decorated in a pure Eastern style, full of sunlight and wide openings in the four walls so that the space resembled a pavilion. They could see the blue sky and white clouds outside. The clouds were generated by the house itself and dissipated into tendrils. A small ukiyo-e Japanese woodblock print hung on the wall, along with a fan decorated with a Chinese-brush-painting landscape. The whole place exuded an air of simple elegance.

  Sophon waited until Cheng Xin and AA were sitting cross-legged on the tatami mats, then sat herself down gracefully. Methodically, she laid out the implements for the tea ceremony in front of her.

  “You’re going to have to be patient,” AA whispered in Cheng Xin’s ear. “It’ll be two hours before you get to drink any tea.”

  Sophon retrieved a spotless white cloth from her kimono and began wiping the equally spotless implements. First, she carefully, slowly wiped each and every tea scoop, delicate spoons with long handles carved from single pieces of bamboo. Then she wiped each and every white porcelain and yellow copper tea bowl. With a bamboo ladle, she transferred the clear spring water from a ceramic container to a teapot and placed it above a refined copper brazier to boil. Then she scooped powdered green tea from the tea caddy into the tea bowls, brushing them with a bamboo tea whisk in a circular motion....

  She performed each step in a deliberate, slow manner, even repeating some of the steps. Just wiping the tea ceremony implements took nearly twenty minutes. Clearly, Sophon executed these actions not for their results, but for their ceremonial significance.

  But Cheng Xin didn’t feel bored. Sophon’s graceful, gentle movements had a hypnotic, mesmerizing effect on her. From time to time, a light breeze wafted through the room, and Sophon’s pale arms seemed to move not of their own accord, but to drift with the breeze. Her hands, smooth as jade, seemed to be caressing not implements for making tea, but something softer, lighter, more cloudlike... like time. Yes, she was caressing time. Time turned malleable and meandered slowly, like the fog that drifted through the bamboo groves. This was another time. Here, the history of blood and fire had disappeared, and the world of everyday concerns retreated somewhere far away. All that was left were clouds, the bamboo grove, and the fragrance of tea. They had achieved wa kei sei jaku—harmony, respect, purity, and tranquility, the four principles of the Way of Tea.

  After an unknown amount of time, the tea was ready. Following another series of complicated ceremonial procedures, Sophon finally handed the bowls of tea to Cheng Xin and AA. Cheng Xin took a sip of the lush, green drink. A fragrant, bitter sensation suffused her body, and her mind seemed to clear.

  “When all of us women are together, the world is so beautiful.” Sophon’s voice was still slow and mild, barely audible. “But our world is also very fragile. All of us women must take care to protect it.” Then she bowed deeply, and her voice grew excited. “Thank you for your care in advance! Thank you!”

  Cheng Xin understood very well what was meant but not said, as well as the true significance of the tea ceremony.

  The next meeting pulled Che
ng Xin back into the complex reality around her.

  The day after Cheng Xin visited Sophon, six Common Era men came to see her. These were the candidates competing to succeed Luo Ji in the Swordholder position. They were between thirty-four and sixty-eight years old. Compared to the beginning of the Deterrence Era, fewer Common Era individuals were emerging from hibernation, but they still formed a stratum of society on their own. All of them had some difficulty reintegrating into modern society. Most men from the Common Era tried to, consciously or otherwise, feminize their appearance and personality to adjust to the new feminine society. But the six men in front of Cheng Xin all stubbornly held on to their outdated masculine appearance and personality. If Cheng Xin had met them a few days ago, she would have found them comforting, but now, she felt only a sense of oppression.

  She could see no sunlight in their eyes; their expressions appeared as masks that disguised their true feelings. Cheng Xin felt that she was facing a city wall built from six cold, hard rocks. The wall, roughened and toughened by the passing years, chilled her with its heaviness, and seemed to hint at death and bloodshed.