John Shirley - A Song Called Youth

He felt as if he could feel what the guitar felt. The guitar ached to be touched.

Claire sat on the couch in her apartment, half the size of her father’s, and waited, with quiet dread, for the InterColony news show to come on.

The main room of her apartment was now dialed to living room; the furniture changed shape for bedroom when she told it to. The walls around the screen were translucent, impregnated with a rain forest’s greens and scarlets. The image shifted to a rain squall, and the enormous tropical leaves bounced in the rainwater, ran with crystal beads. A hidden aerator issued the scents of a jungle in the rain. She could almost feel the rainwater.

The all-media screen—a glaring anomaly in the projection of the jungle—showed a documentary about the European Congress of the New Right. The sound was turned off, but there were subtitles as the French Front National leader made a series of—she thought—wildly inflammatory statements with the calm of a TV chef explaining a recipe. The intense, pallid little man was saying “…the inevitability of conflict between cultures with fundamentally different roots can no longer be glossed over. The good intentions of those trying to reconcile Islamic Fundamentalists with Europeans only serve to prolong the pain of social redress. For, I assure you, social redress is necessary. Immigrants from cultures foreign to our own have muddied our cultural waters. It is foolish to assume we will ever occupy the same territory harmoniously. It is naive, unrealistic. This naivete costs us time, money, yes, human lives. The truth must be faced: some races will always be unable to reconcile! The answer is simple: expulsion. It is out of our hands as to whether we are forced to resort to violence in the execution of our solution to the immigrant problem. Cultural vitality and racial purity are synonymous—”

She turned away, sickened. She sensed some obscure connection between the European situation and the Colony.

She made herself a cocktail spiked with an antidepressant neurohormonal transmitter and sipped it, quickly feeling better—artificially—as she waited for the news.

There it was. She dialed up the sound.

“…Technicki radical leaders Molt and Bonham agreed today in principle to a meeting with Director Rimpler but said they could not schedule the meeting without a close look at security precautions for both sides.”

She shook her head sadly, muttering, “They think we’re going to arrest them at a meeting. The depth of mistrust…” She took another sip of the medicinal-tasting cocktail, thinking, Everything’s worse than I thought it was…

The news ran highlights from the last talk between Technicki Union leaders and Admin. There was the flatsuiter, Barkin, speaking in his nasal tone about “…a conflict of interest in the Colony’s housing directors… Admin is being puppeted by UNIC to run things according to UNIC’s priorities, and its priority is profit, always. Admin maintains that the technicki housing project for the Open would be much costlier than was originally believed, and that’s why it was put off—but they haven’t put off developing Admin housing. We have completely lost sight of the fact that the UN’s matching-funds program for the Colony was offered because Professor Rimpler promised a home to Earth’s disadvantaged—the disadvantaged get here and find themselves in overcrowded, badly filtrated dorms—a drearier home than the one they left behind…”

Claire nodded, ever so slightly. There was something to it.

And since then the Russians had blockaded the Colony, cutting off shipments of food and other necessities from Earth. They weren’t starving yet, but the warehoused supplies were running low. The technickis were reacting to the increased rationing. Admin was rationed, too, but the technickis were skeptical—and maybe they were right, Claire thought. Were Praeger and the UNIC people really eating less?

InterColony was showing a clip of the Colony riots now. One of the Radics, a guy named Molt, with a pipe wrench in his hand leading a charge down Corridor D. Forty technicki men and women followed behind him—including preteen boys carrying what looked like Molotov cocktails. The faces in the crowd looked almost delirious with release. The image was shot from above and to the side; she guessed it was one of the surveillance cameras. Molt was shouting something through bared teeth. He saw the camera, mounted near the ceiling, and turned toward it, ran at the viewer, threw the wrench. The wrench struck the camera lens—

The image went black.

Without consciously knowing it, Rickenharp was moving to the music. Not too much. Not in the pushy, look-at-me way that some performers had. The way they had of trying to force enthusiasm from the audience, every move looking artificial.

No, Rickenharp was a natural. The music flowed through him physically, unimpeded by anxieties or ego knots. His ego was there: it was the fuel for his personal Olympics torch. But it was also as immaculate as a pontiff’s robes.

The band sensed it: Rickenharp was in rare form tonight. Maybe it was because he was freed. The tensions were gone because he knew this was the end of the line: the band had received its death sentence: Now, Rickenharp was as unafraid as a true suicide. He had the courage of despair.

The band sensed it and let it happen. The chemistry was there, this time, when Ponce and Mose came into the verse section. Mose with a sinuous riffing picked low, almost on the chrome-plate that clamped the strings; Ponce with a magnificently redundant theme washed through the brass mode of the synthesizer. The whole band felt the chemistry like a pleasing electric shock, the pleasurable shock of individual egos becoming a group ego.

The audience was listening, but they were also resisting. They didn’t want to like it. Still, the place was crowded—because of the club’s rep, not because of Rickenharp—and all those packed-in bodies make a kind of sensitive atmospheric exo-skeleton, and he knew that made them vulnerable. He knew what to touch.

Feeling the Good Thing begin to happen, Rickenharp looked confident but not quite arrogant—he was too arrogant to show arrogance.

The audience looked at Rickenharp as a man will look at a smug adversary just before a hand-to-hand fight and wonder, “Why’s he so smug, what does he know?”

He knew about timing. And he knew there were feelings even the most aloof among them couldn’t control, once those feelings were released: and he knew how to release them.

Rickenharp hit a chord. He let it shimmer through the room and he looked out at them. He made eye contact.

He liked seeing the defiant stares, because that was going to make his victory more complete.

Because he knew. He’d played five gigs with the band in the last two weeks, and for all five gigs the atmosphere had been strained, the electricity hadn’t been there; like a Jacob’s ladder where the two poles aren’t properly lined up for the sparks to jump.

And like sexual energy, it had built up in them, dammed behind their private resentments; and now it was pouring through the dam, and the band shook with the release of it as Rickenharp thundered into his progression and began to sing…

Strumming over the vocals, he sang,