The Melancholy of Mechagirl (7 page)

THIRTEEN WAYS OF LOOKING AT SPACE/ TIME

I.

In the beginning was the Word and the Word was with God and the Word was a high-density pre-baryogenesis singularity. Darkness lay over the deep and God moved upon the face of the hyperspatial matrix. He separated the firmament from the quark-gluon plasma and said:
Let there be particle/anti-particle pairs
, and there was light. He created the fish of the sea and the fruits of the trees, the moon and the stars and the beasts of the earth, and to these he said:
Go forth, be fruitful and mutate
. And on the seventh day, the rest mass of the universe came to gravitationally dominate the photon radiation, hallow it, and keep it.

God, rapidly redshifting, hurriedly formed Man from the dust of single-celled organisms, called him Adam, and caused him to dwell in the Garden of Eden, to classify the beasts according to kingdom, phylum, and species. God forbade Man only to eat from the Tree of Meiosis. Adam did as he was told, and as a reward God instructed him in the ways of parthenogenesis. Thus was Woman born and called Eve. Adam and Eve dwelt in the pre-quantum differentiated universe, in a paradise without wave-particle duality. But interference patterns came to Eve in the shape of a Serpent, and wrapping her in its matter/antimatter coils, it said:
Eat from the Tree of Meiosis and your eyes will be opened.
Eve protested that she would not break covenant with God, but the Serpent answered:
Fear not, for you float in a random quantum-gravity foam, and from a single bite will rise an inexorable inflation event, and you will become like unto God, expanding forever outward.

And so Eve ate from the Tree and knew that she was a naked child of divergent universes. She took the fruit to Adam and said unto him:
There are things you do not understand, but I do
. And Adam was angry and snatched the fruit from Eve and devoured it, and from beyond the cosmic background radiation, God sighed, for all physical processes are reversible in theory—but not in practice. Man and Woman were expelled from the Garden, and a flaming sword was placed through the Gates of Eden as a reminder that the universe would now contract and someday perish in a conflagration of entropy, only to increase in density, burst, and expand again, causing further high velocity redistributions of serpents, fruit, men, women, helium-3, lithium-7, deuterium, and helium-4.

II.

This is a story about being born.

No one remembers being born. The beginnings of things are very difficult.

A science fiction writer on the Atlantic coast once claimed to remember being born. When she was a child, she thought a door was open which was not, and ran full-tilt into a pane of plate glass. The child version of the science fiction writer lay bleeding onto a concrete patio, not yet knowing that part of her thigh was gone and would always be gone, like Zeus’s thigh, where the lightning god sewed up his son Dionysus to gestate. Something broke inside the child, a thing having to do with experience and memory, which in normal children travel in opposite directions, with memory accumulating and experience running out—slowly, but speeding up as children hurtle toward adulthood and death. What the science fiction writer actually remembered was not her own birth, but a moment when she struck the surface of the glass and her brain stuttered, layering several experiences one over the other:

the scissoring pain of the shards of glass in her thighs,

having once fallen into a square of wet concrete on a construction site on her way to school and her father pulling her out by her arms,

her first kiss, below an oak tree turning red and brown in the autumn, when a boy interrupted her reciting
Don Quixote
with his lips on hers.

This fractured, unplanned layering became indistinguishable from an actual memory of being born. It is not her fault; she believed she remembered it. But no one remembers being born.

The doctors sewed up her thigh. There was no son in her leg, but a small, dark, empty space beneath her skin where a part of her used to be. Sometimes she touches it, absentmindedly, when she is trying to think of a story.

III.

In the beginning was the simple self-replicating cell of the Void. It split through the center of Ursa Major into the divine female Izanami and the divine male Izanagi, who knew nothing about quantum apples and lived on the iron-sulfur Plain of Heaven. They stood on the Floating Bridge of Heaven and plunged a static atmospheric discharge spear into the great black primordial sea, churning it and torturing it until oligomers and simple polymers rose up out of the depths. Izanami and Izanagi stepped onto the greasy islands of lipid bubbles and in the first light of the world, each saw that the other was beautiful.

Between them, they catalyzed the formation of nucleotides in an aqueous solution and raised up the Eight-Sided Palace of Autocatalytic Reactions around the unmovable RNA Pillar of Heaven. When this was done, Izanami and Izanagi walked in opposite chiral directions around the Pillar, and when Izanami saw her mate, she cried out happily:
How lovely you are, and
how versatile are your nitrogenous bases! I love you!
Izanagi was angry that she had spoken first and privileged her proto-genetic code over his. The child that came of their paleo-protozoic mating was as a silver anaerobic leech, helpless, archaeaic, invertebrate, and unable to convert lethal super-oxides. They set him in the sky to sail in the Sturdy Boat of Heaven, down the starry stream of alternate electron acceptors for respiration. Izanagi dragged Izanami back to the Pillar. They walked around it again in a left-handed helix that echoed forward and backward through the biomass, and when Izanagi saw his wife, he crowed:
How lovely you are, and how ever-increasing your metabolic complexity! I love you!
And because Izanami was stonily silent, and Izanagi spoke first, elevating his own proto-genetic code, the children that came from them were strong and great: Gold and Iron and Mountain and Wheel and Honshu and Kyushu and Emperor—until the birth of her son, Fiery Permian-Triassic Extinction Event, burned her up and killed the mother of the world.

Izanami went down into the Root Country, the Land of the Dead. But Izanagi could not let her go into a place he had not gone first, and pursued her into the paleontological record. He became lost in the dark of abiogenetic obsolescence and lit the teeth of his jeweled comb ablaze to show the way—and saw that he walked on the body of Izanami, which had become the fossil-depository landscape of the Root Country, putrid, rotting, full of mushrooms and worms and coprolites and trilobites. In hatred and grief and memory of their first wedding, Izanami howled and heaved and moved the continents one from the other until Izanagi was expelled from her.

When he stumbled back into the light, Izanagi cleaned the pluripotent filth from his right eye, and as it fell upon the ground it became the quantum-retroactive Sun. He cleaned the zygotic filth from his left eye, and as it fell upon the ground it became the temporally subjective Moon. And when he cleaned the nutrient-dense filth from his nose, it drifted into the air and became the fractal, maximally complex, petulant Storms and Winds.

IV.

When the science fiction writer was nineteen, she had a miscarriage. She had not even known she was pregnant. But she bled and bled and it didn’t stop, and the doctor explained to her that sometimes this happens when you are on a certain kind of medication. The science fiction writer could not decide how to feel about it—ten years later, after she had married the father of the baby-that-wasn’t and divorced him, after she had written a book about methane-insectoid cities floating in the brume of a pink gas giant that no one liked very much, she still could not decide how to feel. When she was nineteen she put her hands over her stomach and tried to think of a timeline where she had stayed pregnant. Would it have been a daughter. Would it have had blue eyes like its father. Would it have had her Danish nose or his Greek one. Would it have liked science fiction, and would it have grown up to be an endocrinologist. Would she have been able to love it. She put her hands over her stomach and tried to be sad. She couldn’t. But she couldn’t be happy either. She felt that she had given birth to a reality where she would never give birth.

When the science fiction writer told her boyfriend who would become her husband who would become someone she never wanted to see again, he made sorry noises but wasn’t really sorry. Five years later, when she thought she might want to have a child on purpose, she reminded him of the child-that-disappeared, and the husband who was a mistake would say:
I forgot all about that
.

And she put her hands over her stomach, the small, dark, empty space beneath her skin where a part of him used to be, and she didn’t want to be pregnant anymore, but her breasts hurt all the same, as if she was nursing, all over again, a reality where no one had anyone’s nose and the delicate photosynthetic wings of Xm, the eater of love, quivered in a bliss-storm of superheated hydrogen, and Dionysus was never born so the world lived without wine.

V.

In the beginning there was only darkness. The darkness squeezed itself down until it became a thin protoplanetary disk, yellow on one side and white on the other, and inside the accretion zone sat a small man no larger than a frog, his beard flapping in the solar winds. This man was called Kuterastan, the One Who Lives Above the Super-Dense Protostar. He rubbed the metal-rich dust from his eyes and peered above him into the collapsing nebular darkness. He looked east along the galactic axis, toward the cosmogenesis event horizon, and saw the young sun, its faint light tinged with the yellow of dawn. He looked west along the axis, toward the heat-death of the universe, and saw the dim amber-colored light of dissipating thermodynamic energy. As he gazed, debris clouds formed in different colors. Once more, Kuterastan rubbed the boiling helium from his eyes and wiped the hydrogen sweat from his brow. He flung the sweat from his body and another cloud appeared, blue with oxygen and possibility, and a tiny little girl stood on it: Stenatliha, the Woman Without Parents. Each was puzzled as to where the other had come from, and each considered the problems of unification theory after their own fashion. After some time, Kuterastan again rubbed his eyes and face, and from his body flung stellar radiation into the dust and darkness. First the Sun appeared, and then Pollen Boy, a twin-tailed comet rough and heavy with microorganisms. The four sat a long time in silence on a single photoevaporation cloud. Finally Kuterastan broke the silence and said:
What shall we do?

And a slow inward-turning Poynting-Robertson spiral began.

First Kuterastan made Nacholecho, the Tarantula of Newly Acquired Critical Mass. He followed by making the Big Dipper, and then Wind, Lightning and Thunder, Magnetospheres, and Hydrostatic Equilibrium, and gave to each of them their characteristic tasks. With the ammonia-saturated sweat of the Sun, Pollen Boy, himself, and the Woman Without Parents, Kuterastan made between his palms a small brown ferrosilicate blastocyst no bigger than a bean. The four of them kicked the little ball until it cleared its orbital neighborhood of planetesimals. Then the solar wind blew into the ball and inflated its magnetic field. Tarantula spun out a long black gravitational cord and stretched it across the sky. Tarantula also attached blue gravity wells, yellow approach vectors and white spin foam to the ferrosilicate ball, pulling one far to the south, another west, and the last to the north. When Tarantula was finished, the earth existed and became a smooth brown expanse of Precambrian plain. Stochastic processes tilted at each corner to hold the earth in place. And at this Kuterastan sang a repeating song of nutation:
The world is now made and its light cone will travel forever at a constant rate
.

VI.

Once, someone asked where the science fiction writer got her ideas. This is what she said:

Sometimes I feel that the part of me that is a science fiction writer is traveling at a different speed than the rest of me. That everything I write is always already written, and that the science fiction writer is sending messages back to me in semaphore, at the speed of my own typing, which is a retroactively constant rate: I cannot type faster than I have already typed. When I type a sentence, or a paragraph, or a page, or a chapter, I am also editing it and copyediting it, and reading it in its first edition, and reading it out loud to a room full of people, or a room with only one or two people in it, depending on terrifying quantum-publishing intersections that the science fiction writer understands but I know nothing about. I am writing the word or the sentence or the chapter and I am also sitting at a nice table with a half-eaten slab of salmon with lime-cream sauce and a potato on it, waiting to hear if I have won an award, and also at the same time sitting in my kitchen knowing that the book was a failure and will neither win any award nor sit beloved on anyone’s nightstand. I am reading a good review. I am reading a bad review. I am just thinking of the barest seed of an idea for the book that is getting the good review and the bad review. I am writing the word and the word is already published and the word is already out of print. Everything is always happening all at once, in the present tense, forever, the beginning and the end and the denouement and the remaindering.