James Smythe - The Echo

‘I’m going to get some sleep. Go home; it’s been a long day. Simpson is taking the post here now, okay? You need anything, you call him.’

‘Sure,’ I say, but he knows that I won’t. I can handle anything that comes up. And then he’s gone, and I’m alone again. I’m incredibly tired as well; hearing him saying it does something to me, like the involuntary contagion of a yawn. I shut my eyes, still floating there. Why can I sleep now? Why is it that when I am needed I could drift off and allow myself to be gone? Tobi shouts that she is hungry: I am startled awake. I don’t know if I could eat, not feeling like this.

‘Our first meal,’ she says. ‘Feels like we should have some sort of ceremony.’ They all float to the table, and I unclip myself. I have to join them, to stress my leadership, my skill here. I need their respect; Tomas and I long debated the importance of respect amongst a crew. I cling to the rail and I pull myself along towards the central dais table. I can feel them staring at me. They are still humouring me, because grace is something innate, that cannot be taught, but I know that I will have to get used to this. I will have to become better at it, in these confined quarters. On the NISS it was one thing; here, I may even have to go outside the ship, and I need to know that I am capable of that. The table divides the central part of the room. The shape, the construct of the room, is a triple loop, like an infinity symbol doubled-up: three circular rooms on top of each other. The cockpit, the table, the beds: all round. Tomas read books on psychology during the interior design stage of the project, and he read that circular rooms could help to offer an artificial sense of camaraderie. No nooks or crannies to hide in. That’s why the beds can be darkened and made private: in case we need alone time. There’s some wiggle room, but not much. The table has magnets for us to attach our suits to, like everything else. This wasn’t our invention. The suits have ten or so of the magnets, heavy duty, and every fixture and fitting in the ship has the other part. You let the two or so of them meet and voilà, you aren’t going anywhere. ‘Somebody should say something,’ Tobi reiterates. We all wait as Wallace comes back down the corridor and sits himself down.

‘Everything’s fine back there,’ he says. He calls down to Simpson, on the ground. ‘Temperatures exactly how they should be, working at 97 per cent efficiency. Batteries on 98 per cent.’ Better than fine, even: within our optimum parameters.’

‘There. Wallace said something,’ Hikaru says to Tobi. ‘Now we eat?’

‘You know what I mean,’ Tobi says. ‘This is pretty big, right? Being up here?’ They all look to me. ‘This must be one of the best feelings, to see this actually happen. To come to fruition.’

‘It’s good,’ I say. I don’t tell them that my insides are tumbling and churning, and that I can’t balance, and that there’s still these fucking white spots blinking in my peripheral vision. I don’t tell them all that I think I was awake during the acceleration. I try to be inspiring. ‘We’ve got a huge challenge ahead of us, and we’ve got a long way to go. Lesser journeys have destroyed people. You have to remember what we’re here for.’ They’re silent. I pause: feeling sick. As if having my mouth open might be my undoing. They’re waiting, and I can feel the churn, and I think that I have nothing else to say. But then I hear a voice the same as mine pick up where I left off:

‘This isn’t something for your CVs, or to tell your grandchildren. This is a mission for the whole human race. There’s something out there, and it’s our job to find out what it is. This isn’t exploration: it’s discovery. It’s potentially finding the next important thing to push humanity forward. This is Columbus returning to the New World, going back there and saying, This is mine. I found this. Now I’m going to fucking start something.’

I had no idea that Tomas was still there, and listening. He said he was going home, but he didn’t. And he doesn’t say goodbye; he just falls silent. Tobi unclips and opens a cupboard at the side and brings out a box of meal bars.

‘Rub a dub dub, thanks for the grub,’ she says.

We worked for the UNSA back before that was what it was even called. Back then it was still a collection of companies and ex-DARPA employees trying to put something new together. We wrote a letter and we spent a summer halfway across the world, suddenly in America, and interning for Gerhardt Singer. It was the summer before he went up in the Ishiguro and never came back. Afterwards, we wrote a letter to his partner saying how honoured we were to have met him, to have studied under him. The things that he taught us. I think that’s why we started research into the areas that we did, to carry on his work. (We didn’t tell him that we thought he played it wrong, and took too many chances. That would have been cruel, I think: he was hampered, and it was not all his fault, the choices that were made.) Dr Singer said to us, before we left him at the end of the summer, that the anomaly was his pet project.

You pick something and stick with it, he had told us. Because, if you focus, there’s a chance that it will be important. Some scientists spread themselves too thin, you know? They try lots of different things, go from pillar to post, and they never settle on the one thing. I think it’s better to have something that’s my life’s work – that might be important – than just generalize and leave nothing. He seemed really sad when he spoke about it, as if he might go his whole life and not discover anything. As it turned out, he died, and we don’t know if he ever discovered what the anomaly was. That seems such an inglorious way to go: out here, in the emptiness, still asking that question you have always asked and never being able to get an answer.

Inna comes to see me as I sit by myself above the expanse. There is a screen embedded in the floor. When we were young, our mother took us on holiday to Greece, and we went in a boat with a glass floor, and we could see right down into the ocean, and we could see the fish and the water, how deep it was. When we were designing, we took that concept and adapted it. We fitted a camera into the underside-exterior of the ship, and we layered a screen into the floor that could show that camera’s feed. Tomas was so excited by the idea. Think about it! he said. It’ll be incredible, to be up there, nothing underneath you. It’ll be like you’re floating. It wasn’t meant to be me, that You, I suspect: I suspect he thought it would be him. He wanted to have it constantly on, a constant hole to space. I said that not everybody would want to see that all the time, want to see that nothingness. He said, There’ll be stars, and I said, Well, they don’t count for that much when they’re that far away. I have seen stars every day from right here. He argued at one point that it should be glass, even: a clear, unfiltered view. I told him that was stupid. There was more chance of something going wrong. Everything that could have been a window is now a screen, linked to an external camera. We took all glass out because it was easier. It meant fewer seals, and less chance of anything going wrong under the pressure we would be exerting.

Now I can sit here and look down and see everything. I’ve called up the trackers, and computer visualizations dart across the glass, highlighting planets and galaxies. They trace comets. They assign names, and they tell me distances that can never – or not in my lifetime, not in this craft and with this crew – be reached. But it makes it look as though the galaxy is somehow that much closer. Somehow almost attainable. Inna stares at the same things that I do, circling around me. She puts her hand onto my shoulder, to steady herself. The skin on her hands – all over her, in fact – it looks younger than she actually is. I wonder if she’s had work done. Everybody has; I would not judge her. It would be sensible, probably. It’s so hard to tell nowadays. If we didn’t have everybody’s details, I wouldn’t put her as older than me, not really. But then, I don’t know if I even look my age. I call up details for the screen for what we’re looking at: the age of the stars we’re travelling past at such speed. It’s guesswork aided by supposition, but some of them – based on their brightness, their distance – some of them we’re pretty accurate on, I think.