William Gibson - All Tomorrow's Parties

The bar, not crowded at this time of day but far from empty, had gone absolutely silent under the scraping, looping expressions of Shoats' guitar, and then Creedmore began to sing, something high and quavering and dirge-like.

And Creedmore sang about a train pulling out of a station, about the two lights on the back of it: how the blue light was his baby.

How the red light was his mind.

HAVING abandoned sleep, Laney, neither a smoker nor a drinker, has taken to tossing back the contents of very small brown glass bottles of a patent specific for hangover, an archaic but still-popular Japanese remedy that consists of alcohol caffeine aspirin and liquid nicotine He knows somehow (somehow now he knows those things he needs to know) that this, along with periodic belts of a blue hypnotic cough syrup, is the combination he needs to continue.

Heart pounding, eyes wide to incoming data, hands cold and distant, he plunges resolutely on.

He no longer leaves the carton, relying both on Yamazaki (who brings medicines he refuses) and on a neighbor in the cardboard city, a meticulously groomed madman whom he takes to be an acquaintance of the old man, the builder of models, from whom Laney has leased, or otherwise obtained, this space.

Laney doesn't remember the advent of this mad one, whom he thinks of as the Suit, but that is not something he needs to know.

The Suit is, evidently, a former salaryman. The Suit wears a suit, the one suit, always. It is black, this suit, and was once a very good suit indeed, and it is evident from its condition that the Suit, in whichever carton he dwells, has a steam iron, lint rollers, surely a needle and thread, and the skill to use them. It is unthinkable, for instance, that this suit's buttons would be anything less than firmly and symmetrically attached, or that the Suit's white shirt, luminous in the halogen of the master model-builder's carton, would be anything less than perfectly white.

But it is also obvious that the Suit has seen better days, as indeed must be true of any inhabitant of this place. It is obvious, for instance, that the Suit's shirt is white because he paints it daily, Laney surmises (though he doesn't need to know) with a white product intended for the renovation of athletic shoes. The heavy black frames of his glasses are held together with worryingly precise ligatures of black electrical tape, tape cut to narrow custom widths with one of the old man's X-Acto knives and a miniature steel T-square and then applied with lapidary skill,

The Suit is as tidy, as perfectly squared away, as a man can be. But it has been a very long time, months or perhaps years, since the Suit has bathed. Every inch of visible flesh, of course, is scrubbed and spotless, but when the Suit moves, he exudes an odor quite indescribable, a high thin reek, it seems, of madness and despair. He carries, always, three identical, plastic-wrapped copies of a book about himself. Laney, who cannot read Japanese, has seen that the three copies bear the same smiling photograph of the Suit himself, no doubt in better days, and holding, for some reason, a hockey stick. Laney knows (without knowing how he knows) that this was one of those self-advertising, ugly inspirational autobiographies that certain executives pay to have ghostwritten. But the rest of the Suit's story is occluded, to Laney, and very probably to the Suit as well.

Laney has other things on his mind, but it does occur to him that if it is the Suit he sends out to the drugstore as his more presentable representative, then he, Laney, is in bad shape indeed.

And he is, of course, but that seems, against the flood of data flowing Nile-wide and constantly through him, from inner horizon to inner horizon, scarcely a concern.

Laney is aware now of gifts without name. Of modes of perception that may never have previously existed.

He has, for instance, a directly spatial sense of something very near the totality of the infosphere.

He feels it as a single indescribable shape, something brailled out for him against a ground or backdrop of he knows not what, and it hurts him, in the poet's phrase, like the world hurts God. Within this, he palps nodes of potentiality, strung along lines that are histories of the happened becoming the not-yet. He is very near, he thinks, to a vision in which past and future are one and the same; his present, when he is forced to reinhabit it, seems increasingly arbitrary, its placement upon the time line that is Cohn Laney more a matter of convenience than of any absolute now.

All his life Laney has heard talk of the death of history, but confronted with the literal shape of all human knowledge, all human memory, he begins to see the way in which there never really has been any such thing.

No history. Only the shape, and it comprised of lesser shapes, in squirming fractal descent, on down into the infinitely finest of resolutions.

But there is will. 'Future' is inherently plural.

And thus he chooses not to sleep and sends the Suit for more Regain, and he notices, as the Suit crawls out beneath the melon-tinted blanket, that the man's ankles are painted, in imitation of black socks, with something resembling asphalt.

CHEVETTE bought two chicken sandwiches off a cart on the upper level and went back to find Tessa.

The wind had shifted, then died down, and with it that pre-storm tension, that weird elation.

Storms were serious business on the bridge, and even a gusty day would up the probability of someone getting hurt. In a rising wind the bridge could feel like a ship, anchored rock solid to the bottom of the bay, but straining. The bridge itself never really moved, no matter what (although she supposed it must have, in the quake, which was why it was no longer used for what it had been built for), but everything that had been added subsequently, all of that, with the wrong kind of luck, could move, and did sometimes with disastrous results. So that was what sent people running, when a wind got up, to check tumbuckles, lengths of aircraft cable, dubious webworks of two-by-four fir.

Skinner had taught her all that, more in passing than as formal lessons, though he'd had his way of giving formal lessons. One of those had been about how it had felt to be out here the night the bridge was first occupied by the homeless. What it had felt like to climb and topple the chainlink barriers, erected after the quake caused enough structural damage to suspend traffic.

Not that long ago, as years were measured, but some kind of lifetime in terms of concept of place. Skinner had shown her pictures, what the bridge looked like before, but she simply can't imagine that people wouldn't have lived here. He'd also shown her drawings of older bridges too, bridges with shops and houses on them, and it just made sense to her. How could you have a bridge and not live on it?

She loves it here, admits it now in her heart, but there is also something in her, watching, that feels not a part of. A self-consciousness, as though she herself is making the sort of docu Tessa wanted to make, some inner version of all the product Carson coordinated for Real One.

Like she's back, but she isn't. Like she's become something else in the meantime, without noticing, and now she's watching herself being here.

She found Tessa squatting in front of a narrow shopfront, BAD SECTOR spray-bombed across a plywood facade that looks as though it's been painted silver with a broom.

Tessa had God's Little Toy, semi-deflated, on her lap and is fiddling with something near the part that holds the camera. 'Ballast, Tessa said, looking up, 'always goes first.

'Here, Chevette said, holding out a sandwich, 'while it's still warm.