The Very Best of the Best

by Gardner Dozois

  Seeing as it didn’t exist as a real object, they had to show him the Rolex he’d be wearing through a set of VR gloves and goggles. Heavy-seeming of course, and ridiculously over-engineered, but then designer watches had been that way for decades. This is what you must put on along with your newly assumed identity when you return to consciousness in a cabin on board a steamer ferry bound for New Erin. It many ways, the watch is what it appears to be. It ticks. It tells the time. You’ll even need to remember to wind it up. But carefully. Pull the crown out and turn it backwards—no, no, not now, not even here, you mustn’t—and it will initiate a massive databurst. The Farside equivalent of an explosion of about half a pound of semtex, atomising anything within a three metre radius—yourself, of course, included, which is something we’ve already discussed—and causing damage, depending on conditions, in a much wider sphere. Basically, though, you need to be within touching distance of Thea Lorentz to be sure, to be certain. But that alone isn’t enough. She’ll be wearing some kind of protection which will download her to a safe backup even in the instant of time it takes the blast to expand. We don’t know what that protection will be, although we believe she changes it regularly. But, whatever it is, it must be removed.

  * * *

  A blare of lights. A quietening of the murmurous audience as Northover steps out. Stands centre stage. Reaches in his pocket. Starts tossing a coin. Which, when Thea emerges, he drops. The slight sound, along with her presence, rings out. One thing to rehearse, but this is something else. He’d forgotten, he really had, how Thea raises her game when you’re out here with her, and it’s up to you to try to keep up.

  A clever idea that went back to Bard on Wheels, to re-reflect Hamlet through some of the scenes of Stoppard’s Rozencrantz and Guildenstern Are Dead, where two minor characters bicker and debate as the whole famous tragedy grinds on in the background. Northover doubts if this dumb, rich, dead audience get many of the references, but that really doesn’t matter when the thing flows as well as it does. Along with the jokes and witty wordplay, all the stuff about death, and life in a box being better than no life at all, gains a new resonance when it’s performed here on Farside. The audience are laughing fit to bust by the end of the sequence, but you can tell in the falls of silence that come between that they know something deeper and darker is really going on.

  It’s the same when he turns to the piano, and Thea sings a few of Shakespeare’s jollier songs. For, as she says as she stands there alone in the spotlight and her face glows and those bangles slide upon her arms, The man that hath no music in himself, the motions of his spirit are dull as night. She even endows his arrangement of Under the Greenwood Tree, which he always thought too saccharine, with a bittersweet air.

  This, Northover thinks, as they move on to the Emily Dickinson section—which, of course, is mostly about death—is why I have to do this thing. Not because Thea’s fake or because she doesn’t believe in what she’s doing. Not because she isn’t Thea Lorentz any longer and has been turned inside out by the dead apologists into some parasitic ghost. Not because what she does here at Elsinore is a sham. I must do this because she is, and always was, the treacherous dream of some higher vision of humanity, and people will only ever wake up and begin to shake off their shackles when they realise that living is really about forgetting such illusions, and looking around them, and picking up a fucking broom and clearing up the mess of the world themselves. The dead take our power, certainly—both physically and figuratively. The reactors that drive the Farside engines use resources and technologies the living can barely afford. Their clever systems subvert and subsume our own. They take our money, too. Masses and masses of it. Who’d have thought that an entirely virtual economy could do so much better than one that’s supposedly real? But what they really take from us, and the illusion that Thea Lorentz will continue to foster as long as she continues to exist, is hope.

  Because I did not stop for death … Not knowing when the dawn will come, I open every door … It all rings so true. You could cut the air with a knife. You could pull down the walls of the world. Poor Emily Dickinson, stuck in that homestead with her dying mother and that sparse yet volcanic talent that no one even knew about. Then, and just when the audience are probably expecting something lighter to finish off, it’s back to Hamlet, and sad, mad Ophelia’s songs—which are scattered about the play just as she is; a wandering, hopeless, hopeful ghost—although Northover has gathered them together as a poignant posy in what he reckons is some of his best work. Thea knows it as well. Her instincts for these things are more honed than his ever were. After all, she’s a trouper. A legend. She’s Thea Lorentz. She holds and holds the audience as new silence falls. Then, just as she did in rehearsal, she slides the bangles off her arm, and places them atop the piano, where they lie bright as rain circles in a puddle.

  “Keep this low and slow and quiet,” she murmurs, just loud enough for everyone in the hall to hear as she steps back to the main mike. He lays his hands on the keys. Waits, just as they always did, for the absolute stilling of the last cough, mutter and shuffle. Plays the chords that rise and mingle with her perfect, perfect voice. The lights shine down on them from out of sheer blackness, and it’s goodnight, sweet ladies, and rosemary for remembrance, which bewept along the primrose path to the grave where I did go …

  As the last chord dies, the audience erupts. Thea Lorentz nods, bows, smiles as the applause washes over her in great, sonorous, adoring waves. It’s just the way it always was. The spotlight loves her, and Northover sits at the piano for what feels like a very long time. Forgotten. Ignored. It would seem churlish for him not to clap as well. So he does. But Thea knows the timing of these things better than anyone, and crowd loves it all the more when, the bangles looped where she left them on the piano, she beckons him over. He stands up. Crosses the little stage to join her in the spotlight. Her bare left arm slips easy around his waist as he bows. This could be Carnegie Hall. This could be the Bolshoi. The manacling weight of the Rolex drags at his wrist. Thea smells of patchouli and of Thea, and the play’s the thing, and there could not, never could be, a better moment. There’s even Sam Bartleby, sat grinning but pissed off right there on the front row and well within range of the blast.

  They bow again, thankyouthankyouthankyou, and by now Thea’s holding him surprisingly tightly, and it’s difficult for him to reach casually around to the Rolex, even though he knows it must be done. Conscience doth make cowards of us all, but the time for doubt is gone, and he’s just about to pull and turn the crown of his watch when Thea murmurs something toward his ear which, in all this continuing racket, is surely intended only for him.

  “What?” he shouts back.

  Her hand cups his ear more closely. Her breath, her entire seemingly living body, leans into him. Surely one of those bon mots that performers share with each other in times of triumph such as this. Just something else that the crowds love to see.

  “Why don’t you do it now?” Thea Lorentz says to Jon Northover. “What’s stopping you…?”

  * * *

  He’s standing out on the moonlit battlements. He doesn’t know how much time has passed, but his body is coated in sweat and his hands are trembling and his ears still seem to be ringing and his head hurts. Performance come-down to end all performance come-downs, and surely it’s only a matter of minutes before Sam Bartleby, or perhaps Kasaya, or whatever kind of amazing Farside device it is that really works the security here at Elsinore, comes to get him. Perhaps not even that. Maybe he’ll just vanish. Would that be so terrible? But then, they have cellars here at Elsinore. Dungeons, even. Put to the question. Matters of concern and interest. Things they need to know. He wonders how much full-on pain a young, fit body such as the one he now inhabits is capable of bearing … He fingers the Rolex, and studies the drop, but somehow he can’t bring himself to do it.

  When someone does come, it’s Thea Lorentz. Stepping out from the shadows into the spotlight glare of the moon. He
sees that she’s still not wearing those bangles, but she keeps further back from him now, and he knows it’s already too late.

  “What made you realise?”

  She shrugs. Shivers. Pulls down her sleeves. “Wasn’t it one of the first things I said to you? That you were too principled to ever come here?”

  “That was what I used to think as well.”

  “Then what made you change your mind?”

  Her eyes look sadder than ever. More compassionate. He wants to bury his face in her hair. After all, Thea could always get more out of him than anyone. So he tells her about mad old Northy, with that wrecked piano he’d found in what had once been a rooftop bar up in his eyrie above the commune, which he’d spent his time restoring because what else was there to do? Last working piano in London, or England, most likely. Or the whole fucking world come to that. Not that it was ever that much of a great shakes. Nothing like here. Cheaply built in Mexico of all places. But then this kid called Haru comes up, and he says he’s curious about music, and he asks Northy to show him his machine for playing it, and Northy trusts the kid, which feels like a huge risk. Even that first time he sits Haru down at it, though, he knows he’s something special. He just has that air.

  “And you know, Thea…” Northover finds he’s actually laughing. “You know what the biggest joke is? Haru didn’t even realise. He could read music quicker than I can read words, and play like Chopin and Chick Corea, and to him it was all just this lark of a thing he sometimes did with this mad old git up on the fortieth floor …

  “But he was growing older. Kids still do, you know, back on Lifeside. And one day he’s not there, and when he does turn up next, there’s this girl downstairs who’s apparently the most amazing thing in the history of everything, and I shout at him and tell him just how fucking brilliant he really is. I probably even used the phrase God-given talent, whatever the hell that’s supposed to mean. But anyway…”

  “Yes?”

  Northover sighs. This is the hard bit, even though he’s played it over a million times in his head. “They become a couple, and she soon gets pregnant, and she has a healthy baby, even though they seem ridiculously young. A kind of miracle. They’re so proud they even take the kid up to show me, and he plongs his little hands on my piano, and I wonder if he’ll come up one day to see old Northy, too. Given a few years, and assuming old Northy’s still alive, that is, which is less than likely. But that isn’t how it happens. The baby gets sick. It’s winter and there’s an epidemic of some new variant of the nano flu. Not to say there isn’t a cure. But the cure needs money—I mean, you know what these retrovirals cost better than anyone, Thea—which they simply don’t have. And this is why I should have kept my big old mouth shut, because Haru must have remembered what I yelled at him about his rare, exceptional musical ability. And he decides his baby’s only just starting on his life, and he’s had a good innings of eighteen or so years. And if there’s something he can do, some sacrifice he can make for his kid … So that’s what he does…”

  “You’re saying?”

  “Oh, come on, Thea! I know it’s not legal, either Lifeside or here. But we both know it goes on. Everything has its price, especially talent. And the dead have more than enough vanity and time, if not the application, to fancy themselves as brilliant musicians, just the same way they might want to ride an expensive thoroughbred, or fuck like Casanova, or paint like Picasso. So Haru sold himself, or the little bit that someone here wanted, and the baby survived and he didn’t. It’s not that unusual a story, Thea, in the great scheme of things. But it’s different, when it happens to someone you know, and you feel you’re to blame.”

  “I’m sorry,” she says.

  “Do you think that’s enough?”

  “Nothing’s ever enough. But do you really believe that whatever arm of the resistance you made contact with actually wanted me, Thea Lorentz, fully dead? What about the reprisals? What about the global outpouring of grief? What about all the inevitable, endless let’s-do-this-for-Thea bullshit? Don’t you think it would suit the interests of Farside itself far better to remove this awkward woman who makes unfashionable causes fashionable and brings attention to unwanted truths? Wouldn’t they prefer to extinguish Thea Lorentz and turn her into a pure symbol they can manipulate and market however they wish? Wouldn’t that make far better sense than whatever it was you thought you were doing?”

  The sea heaves. The whole night heaves with it.

  “If you want to kill me, Jon, you can do so now. But I don’t think you will. You can’t, can you? That’s where the true weakness of whoever conceived you and this plan lies. You had to be what you are, or were, to get this close to me. You had to have free will, or at least the illusion of it…”

  “What the hell are you saying?”

  “I’m sorry. You might think you’re Jon Northover—in fact, I’m sure you do—but you’re not. You’re not him really.”

  “That’s—”

  “No. Hear me out. You and I both know in our hearts that the real Jon Northover wouldn’t be here on Farside. He’d have seen through the things I’ve just explained to you, even if he had ever contemplated actively joining the resistance. But that isn’t it, either. Not really. I loved you, Jon Northover. Loved him. It’s gone, of course, but I’ve treasured the memories. Turned them and polished them, I suppose. Made them into something realer and clearer than ever existed. This afternoon, for instance. It was all too perfect. You haven’t changed, Jon. You haven’t changed at all. People, real people, either dead or living, they shift and they alter like ghosts in reflection, but you haven’t. You stepped out of my past, and there you were, and I’m so, so, sorry to have to tell you these things, for I fully believe that you’re a conscious entity that feels pain and doubt just like all the rest of us. But the real Jon Northover is most likely long dead. He’s probably lying in some mass grave. He’s just another lost statistic. He’s gone beyond all recovery, Jon, and I mourn for him deeply. All you are is something that’s been put together from my stolen memories. You’re too, too perfect.”

  “You’re just saying that. You don’t know.”

  “But I do. That’s the difference between us. One day, perhaps, chimeras such as you will share the same rights as the dead, not to mention the living. But that’s one campaign too far even for Thea Lorentz—at least, while she still has some control over her own consciousness. But I think you know, or at least you think you do, how to tune a piano. Do you know what inharmonicity is?”

  “Of course I do, Thea. It was me who told you about it. If the tone of a piano’s going to sound right, you can’t tune all the individual strings to exactly the correct pitch. You have to balance them out slightly to the sharp or the flat. Essentially, you tune a piano ever so marginally out of tune, because of the way the strings vibrate and react. Which is imperfectly … Which is … I mean … Which is…”

  He trails off. A flag flaps. The clouds hang ragged. Cold moonlight pours down like silver sleet. Thea’s face, when he brings himself to look at it, seems more beautiful than ever.

  * * *

  The trees of Farside are magnificent. Fireash and oak. Greenbloom and maple. Shot through with every colour of autumn as dawn blazes toward the white peaks of the Seven Mountains. He’s never seen such beauty as this. The tide’s further in today. Its salt smell, as he winds down the window and breathes it in, is somehow incredibly poignant. Then the road sweeps up from the coast. Away from the Westering Ocean. As the virtual Bentley takes a bridge over a gorge at a tyrescream, it dissolves in a roaring pulse of flame.

  A few machine parts twist jaggedly upward, but they settle as the wind bears away the sound and the smoke. Soon, there’s only sigh of the trees, and the hiss of a nearby waterfall. Then, there’s nothing at all.

  Pathways

  NANCY KRESS

  Here’s a suspenseful story about a smart but uneducated woman taking part in an experimental program that’s attempting to find a cure for the d
egenerative inherited disease that will inevitably kill her—with the clock rapidly running out.

  Nancy Kress began selling her elegant and incisive stories in the mid-seventies. Her books include the novel version of her Hugo and Nebula-winning story, Beggars in Spain, and a sequel, Beggars and Choosers, as well as The Prince of Morning Bells, The Golden Grove, The White Pipes, An Alien Light, Brain Rose, Oaths & Miracles, Stinger, Maximum Light, Crossfire, Nothing Human, The Floweres of Aulit Prison, Crossfire, Crucible, Dogs, and Steal Across the Sky, as well as the Space Opera trilogy Probability Moon, Probability Sun, and Probability Space. Among her recent novels are Tomorrow’s Kin, If Tomorrow Comes, and Terran Tomrrows. Her short work has been collected in Trinity and Other Stories, The Aliens of Earth, Beaker’s Dozen, Nano Comes to Clifford Falls and Other Stories, The Fountain of Age, Future Perfect, AI Unbound, and The Body Human. In addition to the awards for “Beggars in Spain,” she has also won Nebula Awards for her stories “Out of All Them Bright Stars” and “The Flowers of Aulit Prison,” the John W. Campbell Memorial Award in 2003 for her novel Probability Space, and another Hugo in 2009 for “The Erdmann Nexus.” She won two Nebula Awards, in 2013, for her novella After the Fall, Before the Fall, During the Fall and in 2015 for her novella Yesterday’s Kin. She lives in Seattle, Washington, with her husband, writer Jack Skillingstead.

  The Chinese clinic warn’t like I expected. It warn’t even Chinese.