At the age of thirteen, Cletus had noted that the brain used more cells collecting, handling, and storing visual images than it used for all the other senses combined. "Why aren't all blind people geniuses?" was just a specific case of the broader assertion, "The brain doesn't know how to make use of what it's got." His investigations over the next fourteen years were more subtle and complex than that initial question and statement, but he did wind up coming right back around to them.
Because the key to the whole thing was the visual cortex.
When a baritone saxophone player has to transpose sheet music from cello, he (few women are drawn to the instrument) merely pretends that the music is written in treble clef rather than bass, eyeballs it up an octave, and then plays without the octave key pressed down. It's so simple a child could do it, if a child wanted to play such a huge, ungainly instrument. As his eye dances along the little fence posts of notes, his fingers automatically perform a one-to-one transformation that is the theoretical equivalent of adding and subtracting octaves, fifths, and thirds, but all of the actual mental work is done when he looks up in the top right corner of the first page and says, "Aw hell. Cello again." Cello parts aren't that interesting to saxophonists.
But the eye is the key, and the visual cortex is the lock. When blind Amy "sight-reads" for the violin, she has to stop playing and feel the Braille notes with her left hand. (Years of keeping the instrument in place while she does this has made her neck muscles so strong that she can crack a walnut between her chin and shoulder.) The visual cortex is not involved, of course; she "hears" the mute notes of a phrase with her fingertips, temporarily memorizing them, and then plays them over and over until she can add that phrase to the rest of the piece.
Like most blind musicians, Amy had a very good "ear"; it actually took her less time to memorize music by listening to it repeatedly, rather than reading, even with fairly complex pieces. (She used Braille nevertheless for serious work, so she could isolate the composer's intent from the performer's or conductor's phrasing decisions.)
She didn't really miss being able to sight-read in a conventional way. She wasn't even sure what it would be like, since she had never seen sheet music before she lost her sight, and in fact had only a vague idea of what a printed page of writing looked like.
So when her father came to her in her thirty-third year and offered to buy her the chance of a limited gift of sight, she didn't immediately jump at it. It was expensive and risky and grossly deforming: implanting miniaturized video cameras in her eye sockets and wiring them up to stimulate her dormant optic nerves. What if it made her only half-blind, but also blunted her musical ability? She knew how other people read music, at least in theory, but after a quarter century of doing without the skill, she wasn't sure that it would do much for her. It might make her tighten up.
Besides, most of her concerts were done as charities to benefit organizations for the blind or for special education. Her father argued that she would be even more effective in those venues as a recovered blind person. Still she resisted.
Cletus said he was cautiously for it. He said he had reviewed the literature and talked to the Swiss team who had successfully done the implants on dogs and primates. He said he didn't think she would be harmed by it even if the experiment failed. What he didn't say to Amy or Lindy or anybody was the grisly Frankensteinian truth: that he was himself behind the experiment; that it had nothing to do with restoring sight; that the little video cameras would never even be hooked up. They were just an excuse for surgically removing her eyeballs.
Now a normal person would have extreme feelings about popping out somebody's eyeballs for the sake of science, and even more extreme feelings on learning that it was a husband wanting to do it to his wife. Of course Cletus was far from being normal in any respect. To his way of thinking, those eyeballs were useless vestigial appendages that blocked surgical access to the optic nerves, which would be his conduits through the brain to the visual cortex. Physical conduits, through which incredibly tiny surgical instruments would be threaded. But we have promised not to investigate that part of the story in detail.
The end result was not grisly at all. Amy finally agreed to go to Geneva, and Cletus and his surgical team (all as skilled as they were unethical) put her through three twenty-hour days of painstaking but painless microsurgery, and when they took the bandages off and adjusted a thousand-dollar wig (for they'd had to go in behind as well as through the eye sockets), she actually looked more attractive than when they had started. That was partly because her actual hair had always been a disaster. And now she had glass baby-blues instead of the rather scary opalescence of her natural eyes. No Buck Rogers TV cameras peering out at the world.
He told her father that that part of the experiment hadn't worked, and the six Swiss scientists who had been hired for the purpose agreed.
"They're lying," Amy said. "They never intended to restore my sight. The sole intent of the operations was to subvert the normal functions of the visual cortex in such a way as to give me access to the unused parts of my brain." She faced the sound of her husband's breathing, her blue eyes looking beyond him. "You have succeeded beyond your expectations."
Amy had known this as soon as the fog of drugs from the last operation had lifted. Her mind started making connections, and those connections made connections, and so on at a geometrical rate of growth. By the time they had finished putting her wig on, she had reconstructed the entire microsurgical procedure from her limited readings and conversations with Cle tus. She had suggestions as to improving it, and was eager to go under and submit herself to further refinement.
As to her feelings about Cletus, in less time than it takes to read about it, she had gone from horror to hate to understanding to renewed love, and finally to an emotional condition beyond the ability of any merely natural language to express. Fortunately, the lovers did have Boolean algebra and propositional calculus at their disposal.
Cletus was one of the few people in the world she could love, or even talk to one-on-one, without condescending. His IQ was so high that its number would be meaningless. Compared to her, though, he was slow, and barely literate. It was not a situation he would tolerate for long.
The rest is history, as they say, and anthropology, as those of us left who read with our eyes must recognize every minute of every day. Cletus was the second person to have the operation done, and he had to accomplish it while on the run from mèdical-ethics people and their policemen. There were four the next year, though, and twenty the year after that, and then two thousand and twenty thousand. Within a decade, people with purely intellectual occupations had no choice, or one choice: lose your eyes or lose your job. By then, the "secondsight" operation was totally automated, totally safe.
It's still illegal in most countries, including the United States, but who is kidding whom? If your department chairman is secondsighted and you are not, do you think you'll get tenure? You can't even hold a conversation with a creature whose synapses fire six times as fast as yours, with whole encyclopedias of information instantly available. You are, like me, an intellectual throwback.
You may have an excuse, being a painter, an architect, a naturalist, or a trainer of guide dogs. Maybe you can't come up with the money for the operation, but that's a weak excuse, since it's trivially easy to get a loan against future earnings. Maybe there's a good physical reason for you not to lie down on that table and open your eyes for the last time.
I know Cletus and Amy through music. I was her keyboard professor once, at Julliard, though now, of course, I'm not smart enough to teach her anything. They come to hear me play sometimes, in this run-down bar with its band of aging firstsight musicians. Our music must seem boring, obvious, but they do us the favor of not joining in.
Amy was an innocent bystander in this sudden evolutionary explosion. And Cletus was, arguably, blinded by love.
The rest of us have to choose which kind of blindness to endure.
Morti
mer Gray's History of Death
BRIAN STABLEFORD
Critically acclaimed British "hard-science" writer Brian Stableford is the author of more than thirty books, including Cradle of the Sun, The Blind Worm, Days of Glory, In the Kingdom of the Beasts, Day of Wrath, The Halcyon Drift, The Paradox of the Sets, The Realms of Tartarus, The Empire of Fear, The Angel of Pain, The Carnival of Destruction, Serpent's Blood, and Inherit the Earth. His short fiction has been collected in Sexual Chemistry: Sardonic Tales of the Genetic Revolution. His nonfiction books include The Sociology of Science Fiction, and with David Langford, The Third Millennium: A History of the World A.D. 2000–3000. His acclaimed novella "Les Fleurs Du Mal" was a finalist for the Hugo Award in 1994. His most recent books are the novels The Fountains of Youth and Architects of Emortality. A biologist and sociologist by training, Stableford lives in Reading, England.
Stableford may have written more about how the ongoing revolutions in biological and genetic science will change the very nature of humanity itself than any other writer of the last decade, covering the development of posthumanity in story after story, including such stories as "Out of Touch," "The Magic Bullet," "Age of Innocence," "The Tree of Life," "The Pipes of Pan," "Hidden Agendas," "The Color of Envy," the above-mentioned "Les Fleurs Du Mal," and many, many others, as well as recent novels such as Inherit the Earth, The Fountains of Youth, and Architects of Emortality. Never has he explored the posthuman future in more detail or with more passion or conviction than in the complex and compelling novella that follows, though, perhaps his best story and certainly one of the very best novellas of the nineties, taking us to an ultrarich, ultracivilized far-future world where we've almost— almost— conquered the oldest and coldest enemy of them all.…
1
I was an utterly unexceptional child of the twenty-ninth century, comprehensively engineered for emortality while I was still a more-or-less inchoate blastula, and decanted from an artificial womb in Naburn Hatchery in the country of York in the Defederated States of Europe. I was raised in an aggregate family that consisted of six men and six women. I was, of course, an only child, and I received the customary superabundance of love, affection, and admiration. With the aid of excellent internal technologies, I grew up reasonable, charitable, self-controlled, and intensely serious of mind.
It's evident that not everyone grows up like that, but I've never quite been able to understand how people manage to avoid it. If conspicuous individuality— and frank perversity— aren't programmed in the genes or rooted in early upbringing, how on earth do they spring into being with such determined irregularity? But this is my story, not the world's, and I shouldn't digress.
In due course, the time came for me— as it comes to everyone— to leave my family and enter a community of my peers for my first spell at college. I elected to go to Adelaide in Australia because I liked the name.
Although my memories of that period are understandably hazy, I feel sure that I had begun to see the fascination of history long before the crucial event which determined my path in life. The subject seemed— in stark contrast to the disciplined coherency of mathematics or the sciences— so huge, so amazingly abundant in its data, and so charmingly disorganized. I was always a very orderly and organized person, and I needed a vocation like history to loosen me up a little. It was not, however, until I set forth on an illfated expedition on the sailing-ship Genesis in September 2901 that the exact form of my destiny was determined.
I use the word "destiny" with the utmost care; it is no mere rhetorical flourish. What happened when Genesis defied the supposed limits of possibility and turned turtle was no mere incident, and the impression that it made on my fledging mind was no mere suggestion. Before that ship set sail, a thousand futures were open to me; afterward, I was beset by an irresistible compulsion. My destiny was determined the day Genesis went down; as a result of that tragedy, my fate was sealed.
*
We were en route from Brisbane to tour the Creationist Islands of Micronesia, which were then regarded as artistic curiosities rather than daring experiments in continental design. I had expected to find the experience exhilarating, but almost as soon as we had left port, I was struck down by seasickness.
Seasickness, by virtue of being psychosomatic, is one of the very few diseases with which modern internal technology is sometimes impotent to deal, and I was miserably confined to my cabin while I waited for my mind to make the necessary adaptation. I was bitterly ashamed of myself, for I alone out of half a hundred passengers had fallen prey to this strange atavistic malaise. While the others partied on deck beneath the glorious light of the tropic stars, I lay in my bunk, half-delirious with discomfort and lack of sleep. I thought myself the unluckiest man in the world.
When I was abruptly hurled from my bed, I thought that I had fallen— that my tossing and turning had inflicted one more ignominy upon me. When I couldn't recover my former position after having spent long minutes fruitlessly groping about amid all kinds of mysterious debris, I assumed that I must be confused. When I couldn't open the door of my cabin even though I had the handle in my hand, I assumed that my failure was the result of clumsiness. When I finally got out into the corridor, and found myself crawling in shallow water with the artificial bioluminescent strip beneath instead of above me, I thought I must be mad.
When the little girl spoke to me, I thought at first that she was a delusion, and that I was lost in a nightmare. It wasn't until she touched me, and tried to drag me upright with her tiny, frail hands, and addressed me by name— albeit incorrectly— that I was finally able to focus my thoughts.
"You have to get up, Mr. Mortimer," she said. "The boat's upside down."
She was only eight years old, but she spoke quite calmly and reasonably.
"That's impossible," I told her. "Genesis is unsinkable. There's no way it could turn upside down."
"But it is upside down," she insisted— and, as she did so, I finally realized the significance of the fact that the floor was glowing the way the ceiling should have glowed. "The water's coming in. I think we'll have to swim out."
The light put out by the ceiling-strip was as bright as ever, but the rippling water overlaying it made it seem dim and uncertain. The girl's little face, lit from below, seemed terribly serious within the frame of her dark and curly hair.
"I can't swim," I said, flatly.
She looked at me as if I were insane, or stupid, but it was true. I couldn't swim. I'd never liked the idea, and I'd never seen any necessity. All modern ships— even sailing-ships designed to be cute and quaint for the benefit of tourists— were unsinkable.
I scrambled to my feet and put out both my hands to steady myself, to hold myself against the upside-down walls. The water was knee-deep. I couldn't tell whether it was increasing or not— which told me, reassuringly, that it couldn't be rising very quickly. The upturned boat was rocking this way and that, and I could hear the rumble of waves breaking on the outside of the hull, but I didn't know how much of that apparent violence was in my mind.
"My name's Emily," the little girl told me. "I'm frightened. All my mothers and fathers were on deck. Everyone was on deck, except for you and me. Do you think they're all dead?"
"They can't be," I said, marveling at the fact that she spoke so soberly, even when she said that she was frightened. I realized, however, that if the ship had suffered the kind of misfortune which could turn it upside down, the people on deck might indeed be dead. I tried to remember the passengers gossiping in the departure lounge, introducing themselves to one another with such fervor. The little girl had been with a party of nine, none of whose names I could remember. It occurred to me that her whole family might have been wiped out, that she might now be that rarest of all rare beings, an orphan. It was almost unimaginable. What possible catastrophe, I wondered, could have done that?
I asked Emily what had happened. She didn't know. Like me she had been in her bunk, sleeping the sleep of the innocent.
/> "Are we going to die too?" she asked. "I've been a good girl. I've never told a lie." It couldn't have been literally true, but I knew exactly what she meant. She was eight years old, and she had every right to expect to live till she was eight hundred. She didn't deserve to die. It wasn't fair.
I knew full well that fairness didn't really come into it, and I expect that she knew it too, even if my fellow historians were wrong about the virtual abolition of all the artifices of childhood, but I knew in my heart that what she said was right, and that insofar as the imperious laws of nature ruled her observation irrelevant, the universe was wrong. It wasn't fair. She had been a good girl. If she died, it would be a monstrous injustice.
Perhaps it was merely a kind of psychological defense mechanism that helped me to displace my own mortal anxieties, but the horror that ran through me was all focused on her. At the moment, her plight— not our plight, but hers— seemed to be the only thing that mattered. It was as if her dignified fear and her placid courage somehow contained the essence of human existence, the purest product of human progress.
Perhaps it was only my cowardly mind's refusal to contemplate anything else, but the only thing I could think of while I tried to figure out what to do was the awfulness of what she was saying. As that awfulness possessed me, it was magnified a thousandfold, and it seemed to me that in her lone and tiny voice there was a much greater voice speaking for multitudes: for all the human children that had ever died before achieving maturity; all the good children who had died without ever having the chance to deserve to die.
"I don't think any more water can get in," she said, with a slight tremor in her voice. "But there's only so much air. If we stay here too long, we'll suffocate."
"It's a big ship," I told her. "If we're trapped in an air-bubble, it must be a very large one."
Supermen: Tales of the Posthuman Future Page 22