by John Varley
For a few seconds there was a dial tone, but I was not fooled. I kept holding it to my ear, and finally the tone turned off. There was just silence. I listened intently. I heard some of those far-off musical tones that live in phone wires. Echoes of conversations taking place a thousand miles away. And something infinitely more distant and cool.
I do not know what they have incubated out there at the NSA. I don't know if they did it on purpose, or if it just happened, or if it even has anything to do with them, in the end. But I know it's out there, because I heard its soul breathing on the wires. I spoke very carefully.
"I do not wish to know any more," I said. "I won't tell anyone anything. Kluge, Lisa, and Osborne all committed suicide. I am just a lonely man, and I won't cause you any trouble."
There was a click, and a dial tone.
Getting the phone taken out was easy. Getting them to remove all the wires was a little harder, since once a place is wired they expect it to be wired forever. They grumbled, but when I started pulling them out myself, they relented, though they warned me it was going to cost.
PG&E was harder. They actually seemed to believe there was a regulation requiring each house to be hooked up to the grid. They were willing to shut off my power—though hardly pleased about it—but they just weren't going to take the wires away from my house. I went up on the roof with an axe and demolished four feet of eaves as they gaped at me. Then they coiled up their wires and went home.
I threw out all my lamps, all things electrical. With hammer, chisel, and handsaw I went to work on the drywall just above the baseboards.
As I stripped the house of wiring I wondered many times why I was doing it. Why was it worth it? I couldn't have very many more years before a final seizure finished me off. Those years were not going to be a lot of fun.
Lisa had been a survivor. She would have known why I was doing this. She had once said I was a survivor, too. I survived the camp. I survived the death of my mother and father and managed to fashion a solitary life. Lisa survived the death of just about everything. No survivor expects to live through it all. But while she was alive, she would have worked to stay alive.
And that's what I did. I got all the wires out of the walls, went over the house with a magnet to see if I had missed any metal, then spent a week cleaning up, fixing the holes I had knocked in the walls, ceiling, and attic. I was amused trying to picture the real-estate agent selling this place after I was gone.
It's a great little house, folks. No electricity...
Now I live quietly, as before.
I work in my garden during most of the daylight hours. I've expanded it considerably, and even have things growing in the front yard now.
I live by candlelight, and kerosene lamp. I grow most of what I eat.
It took a long time to taper off the Tranxene and the Dilantin, but I did it, and now take the seizures as they come. I've usually got bruises to show for it.
In the middle of a vast city I have cut myself off. I am not part of the network growing faster than I can conceive. I don't even know if it's dangerous to ordinary people. It noticed me, and Kluge, and Osborne. And Lisa. It brushed against our minds like I would brush away a mosquito, never noticing I had crushed it. Only I survived.
But I wonder.
It would be very hard... Lisa told me how it can get in through the wiring. There's something called a carrier wave that can move over wires carrying household current. That's why the electricity had to go.
I need water for my garden. There's just not enough rain here in southern California, and I don't know how else I could get the water.
Do you think it could come through the pipes?
"The Pusher" first appeared in The Magazine of Fantasy And Science Fiction, copyright © 1981 by Mercury Press, Inc.
"Blue Champagne" first appeared in New Voices 4, edited by George R. R. Martin, copyright © 1981 by John Varley.
"Tango Charlie and Foxtrot Romeo" copyright © 1985 by John Varley.
"Options" first appeared in Universe 9, copyright © 1979 by Terry Carr.
"Lollipop and the Tar Baby" first appeared in Orbit 19, edited by Damon Knight, copyright © 1977, Copyright reassigned to John Varley, 1985.
"The Manhattan Phone Book (Abridged)" first appeared in Westercon 37, edited by Debbie Cross.
Copyright © 1984 by John Varley.
"The Unprocessed Word" copyright © 1985 by John Varley.
"Press Enter" first appeared in Isaac Asimov's Science Fiction Magazine, copyright © 1984 by Davis Publications, Inc.
Copyright © 1986 by John Varley.
Cover design by Todd Cameron Hamilton.
Book design by Jill Dinneen.
ISBN: 0-441-06868-5
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