The Stardance Trilogy (68 page)

I polished the choreography for an endless time, perhaps as much as a second, with a thousand minds looking over my figurative shoulder and doublechecking me, making suggestions for improvement. My four pipelines, Shara Drummond, Yarra, Harry Stein and Reb Hawkins took a personal interest, and there were a number of other dancers out there in the Starmind who had ideas to offer, in particular an Iranian Muslim named Ali Beheshti who had been a dervish before he accepted Symbiosis, and a former break-dancer from Harlem named Jumping Bean.

There was one last question to be decided. Was it necessary that Chen Hsi-Feng die? Opinion was divided, consensus oscillated.

Fat Humphrey spoke from near at hand.
Forget necessary or unnecessary. You know what he wants to drink. Serve him.

The debate was ended.

I was out of full lotus and on my feet before he knew I was moving. The broken ankle made a horrid sound and hurt like blue fury, but I was expecting that, ignored it. I had not danced in a one-gee field for years, had not danced at all in weeks, but it didn’t matter at all, I was now at least briefly capable of anything that any human could do, factory rebuilt from the inside out, in a controlled adrenaline frenzy. I became a dervish, spinning and whirling and leaping.

In my normal state of performance mania I am capable of moving faster than the eye can follow for brief periods. Now I was inspired, exalted. My feet had not kissed the stage in so long! I flashed to and fro before him, must have seemed to have multiple arms and legs, like the goddess Kali. I had no clothes to hinder me; my bare feet gripped the hardwood floor beautifully.

Instinctively he thrust his feet away from him so that he and his chair flew backwards away from me. He brought up his gun and gaped at me, thunderstruck.

I danced for him.

It was a true dance, a thing of art, a statement in movement. I knew he could sense that, even though he could not slow down his time-sense enough to grasp the statement. He stared, fascinated as a rabbit by a cobra, for nearly ten seconds.

But he was no rabbit. He realized what my dance implied, and exactly when I had known he would, he shook off his shock and awe and pulled the trigger.

The first of the three remaining rocket-darts came floating toward me as slowly as a docking freighter in free fall. I could see the dot of wetness at its tip.

I made it part of the dance, teasing it as a matador teases a bull, eluded it with ludicrous ease.

The harsh flat sound of laser-rifle fire came from outside the room. Someone in the distance screamed. There was a
chuff
sound just outside the door. He sprang from the chair to a point where he could see both me and the door, the gun waving back and forth. I was waiting for that: I went into a spin, standing in one spot and whirling like a top, tempting him. Just after he passed out of my field of vision for the eighth time, he fired; the needle was halfway to me by the time I could see it. I had all the time in the world. It was heading for my heart; the easiest thing to do would have been to simply squat and let it pass overhead. Instead I
jumped,
impossibly high, and it passed under my feet. When I landed I broke out of the spin and resumed my dance, completing the second movement in two or three seconds. I reprised the final phrase, then did it again, and again, giving him a predictable pattern to extrapolate.

He had one rocket left, and just then something outside struck the door heavily. But he must have decided that whatever lay outside that door, it could only be human. Clearly I was not. Without any real hope—what could he know of real hope?—he sobbed and fired his last round at me.

The instant he did so his fight was over, one way or another. I could see him grasp that, and devote his last second to trying to comprehend the meaning of my dance.

I ran
toward
the dart, reached it halfway to him, before it had had a chance to build up to full speed, snatched it out of the air, let the force of it put me into a turn and then fling me at him again, and closed on him before he could lift a hand to defend himself.

And with an overhand looping right, I rammed his death dart down his throat.

As I was yanking my hand clear, he bit off the tip of my index finger in death-spasm. My ankle gave way beneath me at last and we went down together, side by side, facing in opposite directions. He kicked me sharply in the ribs, and died.

The door shattered. A man sprang into the room and landed in a crouch, beautifully. He wore black shirt and trousers, and was barefoot. His face and skull were clean-shaven. His expression was serene. There was a fresh laser burn through one of his outflung hands, but it didn’t appear to bother him. He took in the scene in a glance and straightened up from his combat stance. Then he made deep
gassho.

“I am Tenshin Norman Hunter,” he said, with the mild voice of a teacher. “I am the Abbot of Tassajara, a Zen monastery in the mountains east of here.”

I sat up, cupping my injured hand. I had already stopped the bleeding and sterilized the wound, was already beginning to regrow the missing fingertip, but it still hurt, and I could indulge things like that now. “I’ve heard of it,” I said. “And I felt you coming. I am Rain M’Cloud, of Top Step. Thank you for coming.”

“Reb called, when you were captured in San Francisco,” he said. “I answered. It takes some time to come up over the mountain.”

Thank you, Reb, for watching over me.

You’re welcome, Rain.

I glanced at Robert’s body. Whatever else he had done, he had died for love of me. I bade him goodbye, and looked away, forever. “Are there any hostiles left out there?”

The abbot shook his head. “All the guards sleep. The gas grenades we used are good for at least an hour. Three other monks are here: Katherine, and Yama, and Dôjô Sensei, who is badly wounded.”

I got to my knees. “
Anmari-kuyokuyo-suru-na, kare-ga kitto umaku-yaru-sa
,” I rattled off.

He looked slightly discomfited. “I’m sorry, I don’t really speak Japanese.”

I smiled at him. “I don’t either. Never mind, I just said ‘don’t worry, he’ll make it.’”

“I think so. But it would be good to leave here quickly.”

I managed to get my good leg under me and stand. The adrenalin was wearing off, and while I was cushioning it as much as I could, a crash was somewhere on my horizon. I had just used up about three days’ worth of energy in less than a minute. “Let’s go.”

Tenshin Hunter had a large and rugged four-wheel drive ATV waiting. As soon as I was strapped into a seat, I relaxed a block in my brain, and human emotions returned to me for the first time since I’d blacked out in the restaurant. They didn’t overwhelm me, didn’t bring me back from my state of
satori.
I knew they were illusory, impermanent, transient. But I experienced them to the fullest. I had been storing up a backlog for a long ghastly time.

I cried and cried for the whole two hours it took us to crawl up over a mountain and crawl down to Tassajara, rocking with sobs, bawling like a child, while Katherine held my head to her shoulder and stroked my hair. I cried for Robert, and for Kirra and Ben, and Glenn, and Yumiko, and poor angry Sulke; for Grandmother and my parents; for my ex-husband David and the Chief Steward of my first shuttle flight to orbit; and for Morgan McLeod, who had suffered so bitterly for all her stubborn attachments.

When we finally reached Tassajara in the cool dark of evening, I was done with crying, done with a lifetime of suppressed crying. I never cried again, and I don’t think I ever will.

Five days later I was in Top Step again, and eight hours after that—just long enough to conceive a child with Reb—I entered Symbiosis fully. Twelve hours ago, I came out of the Rapture of First Awakening. I have taken the time to tell this story, impressing it directly into the memory of Teena at the highest baud rate she can accept, because it is the consensus of the Starmind that the world must know what happened, and what nearly happened, and I am in the best position to tell it.

Now I am done, and now I will spread my blood-red wings and sail the photon currents beyond the orbit of Pluto, where something truly wonderful is happening. There I will physically touch, for the first time, Shara and Norrey Drummond and Charlie Armstead and Linda Parsons and Tom McGillicuddy, and a thousand more of my brothers and sisters. We will dance together.

We will always dance.

I am Rain M’Cloud, and my message to you is: the stars are at hand.

This one’s for Tia Marguerite Vasques,
Nana (Agnes Meade),
Tenshin Zenki, and all bodhisattvas,
 
with gratitude, respect
and love

We would like to thank master roboticist Guy Immega (again!), ace physicist Douglas Beder, and Renaissance man Bob Atkinson for technical assistance in matters both scientific and speculative; K. Eric Drexler,. Chris Peterson and Gayle Pergamit for explaining the nearly infinite potential of nanotechnology with their historic and indispensable book UNBOUNDING THE FUTURE [Quill/William Morrow], a follow-up to Drexler’s classic THE ENGINES OF CREATION (almost none of what we read there made it into this volume but we couldn’t have written the first word without all of it); Peter Mathiessen for hipping us to the Kingdom of Lo and the Festival of Impermanence in the quarterly journal
Tricycle
; Murray Louis for continuing to help us believe that meaningful words can be written about dance; Barbara Bourget and Jay Hirabayashi for the inspirational
butoh
-influenced dance of Kokoro, and Lafcadio Hearn for preserving and translating the eerily appropriate
hauta
found in Chapter 20.

We also thank Tenshin Zenki (Reb Anderson), Zoketsu Norman Fischer, Herb Varley, Robert and Virginia Heinlein, Theodore Sturgeon, Jon Singer, Jordin and Mary Kay Kare, Greg McKinnon, David Myers, Dr. Thomas 0’Regan, Marie Guthrie and all the members of Jeanne’s women’s group for an assortment of things too numerous, blessed, shady, trivial, profound, personal or otherwise unmentionable to mention. Ongoing thanks go to our beloved agent Eleanor Wood and our editor Susan Allison, without whom all of this would not have been necessary. And we would like to take this opportunity to thank all of you who voted the original “Stardance” story the Best Novella Hugo in 1977; without you this book would not exist. We might not either.

In addition to all the sources cited in STARMIND’s two prequels, STARDANCE and STARSEED, and the ones cited above, we drew upon THE BOOK OF SERENITY-ONE HUNDRED ZEN DIALOGUES; THE TIBETAN BOOK OF LIVING AND DYING. by Sogyal Rinpoche; and Thich Nhat Hanh’s TOUCHING PEACE. Musical influences this time around included Charles Brown, Stan Getz, Holly Cole, Kenny Loggins, Paul McCartney (“Off the Ground” was a favorite track), Dianne Reeves, the Oscar Peterson Trio, Wynton Marsalis, Jake Thackray and virtually the entire blues and R&B catalogues of Holger Peterson’s Stony Plain Records and Tapes.

Finally, we thank our daughter, Terri Luanna—for this whole saga was begun when she was an infant, for the sole purpose of getting her back home to Canada after we’d gone broke while showing her off to our families back in the Old Country. She is now a twenty-year-old college junior-fully grown and out of the nest … and so at last, more than a quarter of a million words later, is the story she inspired. We two have already agreed between us to collaborate on other books in the future. But
this
tale is now complete.

—
Spider & Jeanne Robinson
Vancouver, British Columbia
24 October 1993

Provincetown, Massachusetts
1 December 2064
 
 

R
HEA
P
AIXAO WAS CONSIDERED ODD
even by other writers. But some things are universal. Like most of her colleagues, Rhea got some of her best writing done in the bathroom.

And this was her favorite bathroom. She stopped in the doorway and examined it before entering. She had known it since earliest childhood, and the passage of time and changing fashions had altered it very little.

True, it now contained a modern toilet and bath; there was such a thing as carrying quaintness too far. But the wall opposite her was simply that, a wall, not programmable in any way: it displayed nothing, could not even become a mirror. An actual silvered-glass mirror hung on the wall, over the sink, its image speckled and distorted by surface impurities. Between mirror and sink, offset to the left, was a widget that had once been used to hold toothbrushes and a plastic cup of germ culture. Farther to the left was an antique cast-iron radiator, unused in decades. The sink itself had mechanical taps, two of them, completely uncalibrated; one had to adjust the flow-rate and temperature by hand with each use. There was a depression behind the rim meant to hold a decomposing lump of phosphate soap. And slung beneath the sink was an antique seldom seen anymore in 2064: a spring-loaded roller intended to hold a roll of toilet paper. (There was no roll there now, of course—but there had been for years after people stopped using the horrid stuff. Nana Fish had insisted on it. Even after she had broken down and accepted modern plumbing, Nana had insisted on keeping a roll of the Stone Age tissue handy, “just in case.” She went back to the days when machinery used to fail all the time.) Every time Rhea saw that roller, she wanted to giggle.