Marvin folded his arms. ‘So if we’re unsure of our goals, why are we working on West 4 at all? Why the hell are we helping them build these big new space programmes? Some of them seem to be groping spontaneously, in fact, for something like the Greening. Look at the “combers”. And you have workers out there in Miami 4 protesting because they think the slow pace of the project is the fault of their inadequate bosses. We know it’s not. It’s not even anything economic, financial, political. We know the problem is that human industrial society is softening at the edges. The lifestyle they call “comber” is just too tempting; especially after an accident or some such, you get swathes of workers just downing tools and walking away to go pick fruit. People don’t have to work like this, and, increasingly, they just won’t. So why are we here?’
Roberta sighed. ‘Because these Low Earths still have large populations, after the Yellowstone emigrations. Declining, but still large. They must stay organized on large scales just to feed their own people. And because, for now, they can do this, and we can’t. We need the benefits too.’ The Next were still few in number, their direct technological capability limited. ‘We rely on high-tech goods of all kinds. Frankly, we’re parasitical on the Low Earth cultures for such goods. So, until we have a better solution of our own, we let this run – and encourage it, subtly.’
‘Hmm,’ said Marvin. ‘You know, they tell a joke, the dim-bulbs. “Doctor, doctor, my brother-in-law thinks he’s a tom cat.” “Well,” says the doc, “bring him in to see me and I’ll cure him.” “I can’t,” says the guy. “We need him to keep down the mice.” That’s what you’re saying about the dim-bulbs. These guys are crazy, a pathology. It would be kinder to let them all wander off, back into the forest where they came from. But we won’t let them be cured, because we need them to keep down the mice.’ He laughed softly.
Gerd said, ‘Well, we need to make a decision about this boy, Stan Berg. Whether or not he knows already what he is – and I have a feeling he does – we may need to get him out of here and to the Grange for his own protection.’
Roberta nodded. ‘I agree. You’re right. I’ll break cover and talk to Stan and his family when he returns. Where did he go, by the way?’
Marvin shrugged, and the Arbiters looked blank.
14
AMONG HIS OTHER attributes, Stan was a much better stepper than Rocky, and as usual Rocky had found the latest plummet, across three worlds in a matter of seconds, hard to take.
He had landed in Miami West 1 doubled over and retching. At least there was nobody around to see it, even if they were standing in the heart of a sprawling development of vast concrete shells. This was a virtual-reality theatre – evidently, he saw from the signs, a conservation project of the post-Yellowstone Museum of the Datum movement.
Stan rubbed his back. ‘You OK, buddy? Come on, let’s get out of the sun.’
He led Rocky a couple of blocks – they saw nobody around – and pushed open a swing door into a cavernous empty space. Rocky glimpsed sheer concrete walls, roughly finished.
Then, without warning, the virtual-reality simulation kicked in. Suddenly it was as if he was outdoors again: he was in some dismal snow-bound city, under a leaden sky. An artificial wind blew in from somewhere, and it was cold. Like Stan, he was dressed only in light stepwise-Earth Florida-summer’s-day gear; he was immediately shivering, and he wrapped his arms around his chest. ‘Where the hell’s this supposed to be? Some place on the Datum, right?’
‘Yep. In England. You’ve heard of England? Welcome to the volcano winter. Come on, something to show you. Not far.’ Stan hurried off through deserted streets.
Rocky, shivering like he’d break, had no choice but to follow.
They followed fading brown signs labelled ‘Medieval City’. An outer belt of modern development – modern for pre-Yellowstone anyhow, all concrete and glass and houses in neat little rows, all abandoned, some burned out – gave way to an inner core of narrower streets, older buildings of stone and brick, and, towering over it all, a tremendous spire, slim, very tall, elegant, glimpsed here and there through gaps in the rows of roofs. The buildings here were mostly terraces, crowding the roads like rows of ageing teeth, and they had evidently been rebuilt and reused, some still residential but others converted into boarding houses or cafés or tourist-trap shops – and all of them were now boarded up and abandoned. There was a sense of great age, of generations having lived and died here, reworking the building stock over and over. It was all utterly alien to Rocky. Miami West 4, the community he’d grown up in, had few buildings older than he was.
They came into a kind of square, of ice-bound mud that might once have been grass-covered. And there before them, standing alone, topped by that great spire, was a cathedral, huge, its proportions distorted by their perspective from the ground – like a spaceship of stone, Rocky thought, that had just landed here.