Early on in the dance, Eva knew she was in good hands, and relaxed.
You couldn't always tell, that early. Sometimes a serious dance was over before you had decided whether you liked it or not. Every piece must, along with what it actually conveys, explain to you the rules by which it is meant to be judged, and sometimes that subtext can take as long to grasp and evaluate as the work itself. For that very reason, Eva had avoided seeing any rehearsals, so she could assess the finished work fairly. But a minute or so into Kinergy, she stopped praying that her friend's work wouldn't bomb, and became lost in it. Jay and his brother had meshed well, for the second time: this piece, despite its origins in the turgid head of Pribhara, was even better than Spatial Delivery had been.
It was not as cerebral as that piece, nor as simple. For one thing, it was staged in the sphere rather than in proscenium, so it had to work in any direction. The stage was bare: apparently none of the standard vector-changing hardware of free-fall dance was going to be used tonight . . . which meant the dancers were going to work harder. The piece's title was another clue. Spatial Delivery had been a single pun, based on a long-obsolete term—but Kinergy was a cascade of overlapping ones—synergy/kinetic energy/kinship energy/kin urge—all primal concepts of the human universe, as old as DNA and as unlikely to ever become dated. It had opened, in fact, with two chains of six dancers unwinding from a double helix in a sudden burst of illumination. The musical accompaniment that appeared as they separated was likewise timeless: the tones of its individual voices did not precisely match any classical instrument, but neither did they sound electronic. The music they made together was difficult to categorize; one could have imagined such music being played at just about any time in history. The dancers were costumed as neutrally as possible, in unitards that matched their complexions, with hoods that masked their diversity of hair styles and colors, and with oversized wings and disguised thrusters.
Nor did the ensuing choreography seem to contain any period or style "flags" in its movement vocabulary—not even those characteristic to its creator. Eva was familiar with most of Jay's work, and might not have identified this as his if she hadn't been told: he had managed to transcend his own limitations.
Ordinarily, for instance, he hated unisons, referred to them as "redundancies," and tended to use them as little as possible—but once his two chains of dancers had separated into twelve individuals, they spent several minutes dancing in unison, changing only in their dynamic relation to one another, like birds altering their formation in flight.
Eva slowly realized that the piece did have an unavoidable period flag: since the dancers were weightless, the dance had to belong to the twenty-first century. Few of its sweeping movements could have been performed any earlier in history, on Terra, without the help of special effects. But as that realization came to her, Rand's shaping began, and cut the piece adrift in time again. The audience facing her on the far side of the theater went away; the dancers were now flying in a blue Terran sky that went on forever, peppered with slow-moving clouds. The sun, its brilliance tempered to a tolerable level by an intervening cloud, was directly opposite Eva, so her subconscious decided that she was lying on her back, mere thousands of meters above Terra, about to fall, an effect so unsettling that she grabbed for her seatmate. (Glancing briefly around, she noticed that many others were doing the same—but not those who were spaceborn.) But the clouds and dancers did not recede, she did not "fall"; before long she relaxed and accepted the fact that she could float in a gravity field, that she was simply lying on a cloud. She resumed watching the dance.
How old is the concept of fairies? Of winged humans who play among the clouds? These dancers played with the clouds, buzzing them, bursting through them, batting them to and fro like fluffy beachballs. A sextet formed, grabbed each other's ankles and made a great circle just in time for a cloud to thread it in stately slow motion. Another group at the opposite end of the theater seemed to echo the phrase, but contracted as the cloud was passing through their circle and pinched it into two clouds; the sextet broke into two trios, and each took one of the cloudlets to play with. The remaining six formed a puffball, like fish in the pool, with a cloud at their center; it slowly expanded outward through them, moving up their torsos, and became a translucent wispy sphere around them, then a globe of water, swirling with surface tension. All six came apart from each other and burst the bubble: it popped with a comical moist sound and sent droplets cascading in all directions like a cool firework blossoming. The ones coming toward Eva vanished just before arriving.
She was delighted. The simple beauty of weightlessness, which became prosaic for every Shimizu resident through daily familiarity, was made magical again by the setting. In this context, the dancers seemed somehow more than (or was it less than?) weightless; they seemed to be nearly massless as well, ethereal. They could meet at high speed without apparent impact, change vector so that it seemed to be their will rather than thrusters which caused the change, bounce from a cloud as easily as penetrate it, pivot on a passing breeze.
Fetch a Sumerian shepherd with a time machine, give him an hour or two to get used to zero gee, and show him this piece: it would communicate to him instantly. The same for a Cretan stonecutter or a medieval alchemist or, Eva imagined, a hypothetical twenty-third century energy creature. There were probably apes who would appreciate this dance. The creative audacity of trying to rekindle the ancient wonder of flying, for people in an environment where one had to fly to get to the bathroom, people who had been striving since their arrival inboard to become blasé about that very miracle, was inspired. Eva had been in space for a long time, and this was the first time in years that she had reflected on how lucky she was: that mankind's oldest dream—to fly like a bird, and never fear hitting the ground—was for her a commonplace.
During the brief interval between movements, Eva reached up and tapped the program-button in her ear; she had deliberately not audited the program notes before the piece began, but now she wanted to know what the creators had had to say about it. She heard the recorded voice of the immortal Murray Louis, reading from one of his own books:
Performance is not mired, it floats. It exists upward, it hovers. It is immediate. It happens. It has no roots, it feeds from the air. It floats above all the tangibles that create it. From its loftiness, its aura descends and permeates all, lifting everything to its height as well as its depth. Performance is the revelation that speaks for itself.
She switched off as the credits began; the second movement had begun. During the interval the dancers had all exited—seeming to shimmer out of existence, one by one—and the clouds had thickened into banks of rolling thunderheads that blotted the sun and darkened the sky. Now the darkness was nearly complete; one could just make out individual billowings in the roiling storm. The temperature seemed to drop slightly, and the air pressure to rise.
Suddenly, with an earsplitting crash, a fractal fork of lightning arced between two prominences. It came toward Eva, ended only meters from her; for the second time she clutched her seatmate tightly. The audience gasped, then muttered and tittered nervously. Five or ten seconds later a second bolt, shorter and with a different vector, again gave a snapshot of the interior of the storm. The music began to sound like mountain horns in the far distance, great deep bass tones punching through intervening winds. Another bolt, more crooked than the last, flared and died . . . then another, and another. Their randomness was convincing; they came anywhere from two to twenty seconds apart, lingering in the eye for nearly a second.
Then all at once all twelve dancers were there, caught in the sudden glare of God's flashbulb, frozen in tableau. Again the audience murmured. The next flash found them in a different tableau, and the next. Sometimes they were arrayed as two sextets, sometimes as four trios, or three quartets, or a septet and quintet, or six pairs; sometimes they were simply twelve lost individuals. No matter how close together the flashes came, the dancers were never caught in motion. Eva wondered how they managed to navigate to each new position in the dark without colliding, but refused to let herself speculate on how the trick was being done, preferring to simply enjoy it. Soon she was noting patterns in the progression of patterns itself. The whole thing began to remind her of the ancient computer game called "Life," in which a collection of cells changes shape and structure in successive frames, "evolving" and "growing" according to simple rules. This was like a three-dimensional Life sequence run at a very slow frame rate, had the same weird but intuitively appealing beauty, constantly changing yet remaining stable over time.
Just as seeming chance brought the dancers fairly close together in a cluster, an especially bright bolt of lightning lingered longer than usual, split again and again, fractured into a hundred snake-tongues of fire that raced around the entire storm—and in their flickering light, the cluster of dancers began to move in space, turning end over end like a Catherine wheel. As the actinic sparkles faded slowly away, the dancers themselves began to glow softly, somehow emitting their own light, shining from within like fireflies. They began to move bodily too, without losing their place in formation, first in unison and then individually, and before long the tension of their solos tore the cluster apart into smaller groups.
Two of the groups, asymmetrically opposed, began to leave trails of light behind them as they moved. Short at first, mere afterimages, the trails slowly lengthened until they were winding tails, as though the invisible eraser that chased them was falling farther and farther behind—then they vanished, and three other groups began to leave trails of their own. Soon dancers were making light sculptures all over the sky, like particle tracks in a cyclotron, occasionally mirroring one another for a time and then diverging. Again Eva was reminded of something from the dawn of the Age of Silicon: a screen-saver program called Electric Fire. The effect was hypnotic—but a kind of hypnosis that made the pulse race and the breath come faster, a heightening of alertness. Forks of lightning still flared here and there among the clouds, imbuing the whole scene with a sense of energy, largeness, danger. Perhaps there were subsonics buried in the score as well. One sensed that something awful, cataclysmic, might happen if one of the dancers missed a movement, distorted the weave of the incomprehensible pattern they were shaping together. Something on the scale of Ragnarok. The speed and intensity of the dance increased, until all twelve were racing to and fro at the highest speeds they could reach without crashing into the unseen audience, threatening to lose control and do so. The very clouds seemed to back away from them. In their boiling frenzy, they came to resemble the classic historical footage of the Fireflies confronting Shara Drummond . . . save that they were not red. Each glowed a different color now, twelve distinct shades; together they seemed the shards of a proto-rainbow struggling to form.
As the music swelled and steadied, they succeeded: seemingly by chance, they settled one after another into the same stable orbit, a great ring whose axis kept changing, like the "orange-slice" orbit of Peace Monitor satellites around Terra, like a primitive model of an atom with twelve electrons. Their trails became one orbit in length: a coruscating rainbow chased itself around the globe.
A short blast of trumpets, and the rainbow flared, doubling in brightness. Each and every cloud dissolved into a trillion spherically expanding droplets of water, a trillion seeds, each carrying with it a tiny reflection of the rainbow. As they dispersed and vanished, the stormclouds lightened in color and mass, thinned out, became wispy, melted away save for a handful of benign white clouds. The storm was broken; the sun returned, and the achingly familiar blue of the Terran sky. (Even spaceborns, studies had long shown, resonated emotionally to that color; it seemed to be in the DNA somewhere, though none could say how.) The music moved gradually up the scale, from deep baritone horn sounds to medium frequencies that sounded eerily like human voices, yet moved in ways no human culture sang. The dancers glowed so fiercely now that they seemed to have enlarged, and their features were indistinct.
Then the rainbow-ring came apart, and they were again the playful, independent sprites they had been in the first movement—but shining, gleaming. The voices became a vast choir, hundreds of voices singing their hearts out in a language Eva had never heard before. The net effect was dysharmonic, but occasionally little resolutions came and went, as if the choir were singing a dozen songs in a dozen keys simultaneously.
The blue sky turned suddenly to gold. Groups of dancers formed, interacted and broke up with dizzying speed. A quartet would come together, agree on a movement phrase, split apart and bring the phrase to other groups, which made up new phrases to combine with them, then split apart in their turn. Choreographic ideas appeared spontaneously and spread around the stage like heat lightning or rumor. A unison formed by apparent accident among the twelve dissolved, then returned—while in the score, more and more singers reached agreement on a key and rules of harmony, until they too were working together to build something. Dance and music together established a stable base and began to climb higher.
Literally! Clouds came toward Eva, and wind into her face: she and the dancers were rising, leaving unseen Terra behind them. The illusion was utterly convincing, and quite breath-taking. The wind fell away, and they left the clouds below; the golden sky began to darken again—not the turgid dark of the storm, but the pure star-spattered blackness of space.
No, not pure. They traveled through a fine mist of some kind of dust. Red dust. It began to accumulate on the bodies of the dancers, until they were caked with it, coated by it, covered in it, each of them glowing a shade of red: ochre, umber, amber, crimson, scarlet, ruby. It was Symbiote, and they a dozen newborn Stardancers, spreading their wings now, spinning them out into lightsails, joyously learning a new way to dance together, rubbing together like blobs in a lava lamp.
Eva put all of her attention on keeping perfectly still and calm. It was difficult—but Reb had trusted her. Many decades of lucrative poker came to her aid.
Briefly the twelve boiled together at the center of the stage like swarming bees, a "quotation" of the Fireflies who had given mankind the Symbiote—then they opened out again, formed a spherical matrix . . . and folded gracefully together into the kukanzen posture of those who meditate in space, each facing out from the center, away from all the others. Together they bowed, to the Universe; the music resolved at last into a major chord spanning the entire audible range; dancers and music began to fade away, like Cheshire cats, until there was only silence and infinite space and the burning stars; then they too dwindled and were gone.
Five full seconds of total silence. Then, pandemonium—
One of the many reasons art in space is performed in spherical theaters is acoustics. Applause reinforces itself, just as a person standing in a hemispherical building on Earth can hear with total clarity a whisper from someone standing precisely opposite him. Any ovation in space sounds like a Terran audience going mad; it makes up for the fact that they cannot stand to deliver it. But this ovation would have shaken the walls of the Bolshoi.
Eva let herself glance at Jay and Rand, now, as the house lights came up. They were together at the opposite end of the vip section, unbuckling their belts to join the dancers for the bow. Her eyes were not what they had once been, but she had a century of experience in intrigue: one glance at Jay's face and she was intuitively certain he didn't know Reb's secret. Rand was much harder to read. Ev Martin—hearing that Rand's wife had left him yesterday, taking his daughter back to Provincetown with her—had spoken with the house physician. The shaper was stoned to his cheeks, smiling beatifically. His eyes were wounds, and he was jaunting like a tourist, but he would pass muster for the media.
Could Rand know something? Unlikely . . . but then, it was a visual that had shocked her, rather than choreography. Still, perhaps it was just coincidence . . .
The crowd was merciless in its admiration, demanding eight curtain calls before the exhausted dancers were allowed to go backstage and peel off their soaked costumes. Eva stopped clapping much sooner; her aged hands gave out. Finally the ovation was over, and her companion, Chen Ling Ho, was murmuring, "I liked it very much . . . despite the ending."
Again she had recourse to her poker experience. "Wasn't that blackout section terrific? Where they did the tableaux in the lightning flashes? How do you suppose they got around in the dark without a train wreck?"
" `How do I get to Carnegie Hall?' " the trillionaire replied.
"You can't possibly be old enough to remember that joke—Carnegie Hall was torn down before you were born!"
His eyes twinkled. "I like to think of myself as a student of classical humor."
She blinked. " `Your money or your life?' " she asked, quoting an ancient radio joke.
Chen gave the correct response: dead silence.
She rewarded him with a smile, unbuckled herself with one hand and took his arm with the other. "Let's head for the reception—I want to congratulate the boys before the crowd beats them stupid."
Rand and Jay were already glazing over by the time Eva elbowed her way into the receiving line with Chen, but she caught their attention—and managed to fluster them both—when she said, "Lads, somewhere Willem Ngani is smiling tonight."
"He'd have loved that piece," Chen agreed, and the two thanked them, both stammering. Then Eva let herself be chivvied away by assistant cronkites—this was the worst possible time and place to probe Rand's secret thoughts.
She and Chen returned to her suite. He accepted a drink, and they moved to the window. Terra was about a quarter full. The illuminated crescent contained China; twilight in Beijing. They shared silence for a few minutes. Then he said, "You did not respond to my criticism of the ending of Kinergy. Did you like it?"
She felt like she was juggling eggs in a gravity field. "Yes, I did. It resonated for me. What didn't you like about it?"
"The Stardancer motif."
"Too obvious?"
He hesitated. "Yes, that."
"Something else?"
Again he hesitated. "You know my true feelings toward the ones in red."
"Not really," she said. "I'm aware that you're not a major fan—and that you don't want that publicly known. Given your father's history with the Starmind, I understand that. But do they really bother you so much that a reference to them spoils a work of art for you?"
"Yes."
"For heaven's sake, Ling, why? Personal feelings aside, you of all people must know how much the human race owes them—"
"Precisely. How then can I not resent them?"
"Oh, that's silly!"
There might not be another person alive privileged to say that to Chen Ling Ho; from Eva he took it. "Gratitude implies obligation. The scale of the obligation is, in this case, horrifying."
"But there's almost nothing they want that we have—just trace elements we'll never miss. The bill will never come due."
He nodded, and again said, "Precisely. That makes the obligation even more intolerable. It is, on both sides, literally unforgivable."
She frowned. "There's more to it than that."
"What do you mean?" he asked.
"You're not mankind. Your personal share of the debt . . . well, with your resources you could probably pay cash. At most, it's a philosophical abstraction. To spoil a dance, something has to have its roots in your gut, not your head. What really bothers you about the Starmind?"
"Their virtue," he said.
"Come again?"
For the first time, emotion came into his voice. "They are so damned virtuous! So relentlessly admirable. My instincts tell me to despise and fear anyone who appears above reproach. Their harmlessness disarms us. Again, literally! We allowed them to abolish war for us, allowed them to strengthen the United Nations into a true world government. Perhaps war is not, after all, a truly necessary evil—there are more efficient ways of getting rich now—but we may find one day that it was necessary in ways we do not yet grasp."
"Jesus, Ling—you want war back? Even I'm not that nostalgic."
"I feel in my heart that in the old days, when we were a brawling, clawing, struggling world, we were more human. Now we grow fat and soft on the riches flung down to us from on high—and because our short-term wealth has temporarily overtaken population growth, we have stopped fearing population growth. One day we will reach a point where no input of new wealth can help us . . . and then civilization will fall, and millions, billions, will die. Conceivably all. All humans. But not the Stardancers. They may never die." He heard emotion creeping into his voice and caught himself. "You understand, I do not discuss these matters publicly. Stardancers are much beloved. In this age, no man can hold real wealth or power save he treat with them. Humanity is drunk, today, happily drunk, and in no mood for grim warnings. But how can the Neanderthal not hate the Cro-Magnon, Eva?"
She nodded. Time to change the subject. "Well, I can't say I share your feelings, but at least I think I understand them now. Thanks for explaining. I'll remember not to buy you the new Drummonds holo for your birthday."
"Oh, no," he said. "Please do, if you like. One may admire the exquisite gyrations of cancer cells in the microscope. The choreography of the Stardancers themselves I find very interesting; it's only their existence that offends me."
That made her smile. "It's a shame your country gave up emperors, Ling. You'd have been one of the great ones."
"One hates to be a merely good emperor," he agreed, and finished his drink.
She followed suit. "Are you sleepy?"
"No."
"Shall we go to bed?"
He bowed and took her hand. "All my life I have wondered why other men prize young women."
"Perhaps," she suggested, "they do not feel they deserve the best."
He smiled, and came closer.