Death's End (The Three-Body Problem)
Page 71
Cheng Xin and Guan Yifan believed that in the other mini-universes, at least those mini-universes that heeded that call of the Returners, the same things were being done. If the new universe were really born, it would contain many bottles containing messages drifting through it. It was believable that a considerable number of bottles contained storage mechanisms that held the memories and thoughts of every individual of that civilization, as well as their complete biological details—maybe the records would be sufficient for a new civilization in the new universe to revive that old civilization.
“Can we keep another five kilograms here?” Cheng Xin asked. She was on the other side of the ship and dressed in her space suit. In her hand, she held a glowing, transparent sphere. The sphere was about half a meter in diameter, and a few balls of water drifted inside it. Inside some of the water spheres were tiny fish, along with green algae. There were also two miniature drifting continents covered with green grass. The light came from the top of the transparent sphere, where there was a tiny glowing emitter, the sun of this miniature world. This was a completely sealed ecological sphere, the result of more than ten days of work by Cheng Xin and Sophon. As long as the tiny sun inside the sphere continued to give off light, this miniature ecological system would persist. As long as it remained here, Universe 647 would not be a lifeless, dark world.
“Of course,” said Guan Yifan. “The great universe isn’t going to fail to collapse because it misses five kilograms.” He had another thought that he did not voice: Perhaps the great universe really would fail to collapse because it lacked a single atom’s mass. The precision of Nature can sometimes exceed the imagination. For instance, life itself required the precise collaboration of various universal constants within a billion-billionth of a certain range. But Cheng Xin could still leave behind her ecological sphere. Out of all the countless mini-universes created by the countless civilizations, it was certain that some number of them would not heed the call of the Returners. Ultimately, the great universe was certain to lose at least a few hundred million tons of matter, or perhaps even a million billion billion tons.
Hopefully, the great universe could ignore such a loss.
Cheng Xin and Guan Yifan entered the spaceship, and Sophon came in last. She had long ceased wearing her magnificent kimono and turned once again into that lean and nimble warrior dressed in camouflage. She had all sorts of weapons and survival gear strapped to her body, the most prominent being the katana on her back.
“Don’t worry,” she said to her two human friends. “As long as I’m alive, no harm will come to you.”
The fusion drive activated and the thrusters emitted a dim blue light. The spaceship slowly went through the door of the universe.
The message in a bottle and the ecological sphere were the only things left in the mini-universe. The bottle faded into the darkness so, in this one-cubic-kilometer universe, only the little sun inside the ecological sphere gave off any light. In this minuscule world of life, a few clear watery spheres drifted serenely in weightlessness. One tiny fish leapt out of a watery sphere and entered another, where it effortlessly swam between the green algae. On a blade of grass on one of the miniature continents, a drop of dew took off from the tip of the grass blade, rose spiraling into the air, and refracted a clear ray of sunlight into space.
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Translator’s Postscript
About Cixin Liu
About the Translator
About the Three-Body Problem Series
An Invitation from the Publisher
Translator’s Postscript
I’m indebted to the following beta readers for their invaluable help during the translation process: Anatoly Belilovsky, John Chu, Elías Combarro, Rachel Cordasco, Derwin Mak, Alex Shvartsman, and Igor Teper. All translators should be so lucky.
I’m also thankful for special assistance from the following individuals: Wang Meizi, for advice on transliterated names; Anna Gustafsson Chen, for pointers on Scandinavian geography; and Emma Osborne, for tracking down books for me on the other side of the globe.
My heartfelt gratitude goes to David Brin for championing the Three-Body series and acting as a wonderful sounding board for me.
I continue to be awed by the genius of Liu Cixin every time I read another passage from this novel. Of the three books in the trilogy, this third one is my favorite. I’ve been very fortunate to get the chance to work on this book with Da Liu.
Finally, I want to thank the many individuals who played indispensable (though often underappreciated) roles in the epic tale of bringing Three-Body to the English-speaking world: Li Yun and Song Yajuan at China Educational Publications Import & Export Corporation Ltd., for seeing the potential of a global audience for the series and commissioning the translation; Joel Martinsen, who translated The Dark Forest and, by example, showed me how to handle some tricky parts in this book; Emily Jiang, Wang Meizi, and Chen Qiufan, for building the bridge that connected Tor Books to Liu Cixin; Joe Monti, for encouraging me to take on this project in the first place; and the many wonderful individuals at Tor Books who worked so hard to make the vision of these books a reality. Among them are: Irene Gallo, Stephan Martinière, and Jamie Stafford-Hill, for extraordinary art direction, artwork, and cover design; Leah Withers and Diana Griffin, for an outstanding publicity campaign; Joe Bendel for his sales and marketing insight; Kevin Sweeney, Heather Saunders, Nathan Weaver, Karl Gold, and Megan Kiddoo, from Tor’s production department; Christina MacDonald, who ensured that errors and bugs would not survive in the manuscript; Miriam Weinberg, for assisting with editorial matters; and most of all, Liz Gorinsky, who left an indelible mark on the text with her meticulous and insightful editorial touch, improving this translation in innumerable ways. I hope to continue to make beautiful books with them all in the future.
About Cixin Liu
CIXIN LIU is the People’s Republic of China’s leading Science Fiction writer. He has won the China Galaxy Science Fiction Award nine times and the Nebula (Xingyun) award twice. Before becoming a writer, he was a computer engineer in a power plant in Yangquan.
About the Translator
KEN LIU’S short story ‘The Paper Menagerie’ was the first work of fiction to sweep the Nebula, Hugo, & World Fantasy Awards. His first novel, The Grace of Kings, is also published by Head of Zeus.
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Originally published as 死神永生 in 2010 by Chongqing Publishing Group in Chongqing, China.
First published in the United States of America in 2016 by Tor, an imprint of Tom Doherty Associates LLC
First published in the UK in 2016 by Head of Zeus Ltd.
Copyright © 刘慈欣 (Liu Cixin), 2010
English translation © 2016 by China Educational Publications Import & Export Corp., Ltd.
Translation by Ken Liu
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sp; The moral right of 刘慈欣 (Liu Cixin) to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act of 1988.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of both the copyright owner and the above publisher of this book.
This is a work of fiction. All characters, organizations, and events portrayed in this novel are either products of the author’s imagination or are used fictitiously.
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A CIP catalogue record for this book is available from the British Library.
ISBN (HB) 9781784971632
ISBN (TPB) 9781784971649
ISBN (E) 9781784971625
Jacket illustration: © Stephen Martiniere
Author Photo: Li Yibo
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