Don DeLillo - Underworld

But she is in cyberspace, not heaven, and she feels the grip of systems. This is why she's so uneasy. There is a presence here, a thing implied, something vast and bright. She senses the paranoia of the web, the net. There's the perennial threat of virus of course. Sister knows all about contaminations and the protective measures they require. This is different-it's a glow, a lustrous rushing force that seems to flow from a billion distant net nodes.

When you decide on a whim to visit the H-bomb home page, she begins to understand. Everything in your computer, the plastic, silicon and mylar, every logical operation and processing function, the memory, the hardware, the software, the ones and zeroes, the triads inside the pixels that form the on-screen image-it all culminates here.

First a dawnlight, a great aurora glory massing on the color monitor. Every thermonuclear bomb ever tested, all the data gathered from each shot, code name, yield, test site, Eniwetok, Lop Nor, Novaya Zemlya, the foreignness, the otherness of remote populations implied in the place names, Mururoa, Kazakhstan, Siberia, and the wreath-work of extraordinary detail, firing systems and delivery systems, equations and graphs and schematic cross sections, shot after shot summoned at a click, a hit, Bravo, Romeo, Greenhouse Dog-and Sister is basically in it.

She sees the flash, the thermal pulse. She hears the rumble building, the great gathering force rolling off the 16-bit soundboard. She stands in the flash and feels the power. She sees the spray plume. She sees the fireball climbing, the superheated sphere of burning gas that can blind a person with its beauty, its dripping christblood colors, solar golds and reds. She sees the shock wave and hears the high winds and feels the power of false faith, the faith of paranoia, and then the mushroom cloud spreads around her, the pulverized mass of radioactive debris, eight miles high, ten miles, twenty, with skirted stem and smoldng platinum cap.

The jewels roll out of her eyes and she sees God.

No, wait, sorry. It is a Soviet bomb she sees, the largest yield in history, a device exploded above the Arctic Ocean in 1961, preserved in the computer that helped to build it, fifty-eight megatons-add the digits and you get thirteen.

Whole populations potentially skelly-boned in the massive flash- dem bones, dem bones, sing the washtub women. And Sister begins to sense the byshadows that stretch from the awe of a central event. How the intersecting systems help pull us apart, leaving us vague, drained, docile, soft in our inner discourse, willing to be shaped, to be overwhelmed-easy retreats, half beliefs.

Shot after shot, bomb after bomb, and they are fusion bombs, remember, atoms forcibly combined, and even as they detonate across the screen, again and again, there is another fusion taking place. No physical contact, please, but a coupling all the same. A click, a hit and Sister joins the other Edgar. A fellow celibate and more or less kindred spirit but her biological opposite, her male half, dead these many years. Has he been waiting for this to happen? The bulldog fed, J. Edgar Hoover, the Law's debased saint, hyperlinked at last to Sister Edgar-a single fluctuating impulse now, a piece of coded information.

Everything is connected in the end.

Sister and Brother. A fantasy in cyberspace and a way of seeing the other side and a settling of differences that have less to do with gender than with difference itself, all argument, all conflict programmed out.

Is cyberspace a thing within the world or is it the other way around? Which contains the other, and how can you tell for sure?

A word appears in the lunar milk of the data stream. You see it on your monitor, replacing the tower shots and airbursts, the detonations of high-yield devices set on barges or dangled from balloons, replacing the comprehensive text displays that accompany the bombs. A single seraphic word. You can examine the word with a click, tracing its origins, development, earliest known use, its passage between languages, and you can summon the word in Sanskrit, Greek, Latin and Arabic, in a thousand languages and dialects living and dead, and locate literary citations, and follow the word through the tunneled underworld of its ancestral roots.

Fasten, fit closely, bind together.

And you can glance out the window for a moment, distracted by the sound of small kids playing a made-up game in a neighbor's yard, some kind of kickball maybe, and they speak in your voice, or piggyback races on the weedy lawn, and it's your voice you hear, essentially, under the glimmerglass sky, and you look at the things in the room, offscreen, unwebbed, the tissued grain of the deskwood alive in light, the thick lived tenor of things, the argument of things to be seen and eaten, the apple core going sepia in the lunch tray, and the dense measures of experience in a random glance, the monk's candle reflected in the slope of the phone, hours marked in Roman numerals, and the glaze of the wax, and the curl of the braided wick, and the chipped rim of the mug that holds your yellow pencils, skewed all crazy, and the plied lives of the simplest surface, the slabbed butter melting on the crumbled bun, and the yellow of the yellow of the pencils, and you try to imagine the word on the screen becoming a thing in the world, taking all its meanings, its sense of serenities and contentments out into the streets somehow, its whisper of reconciliation, a word extending itself ever outward, the tone of agreement or treaty, the tone of repose, the sense of mollifying silence, the tone of hail and farewell, a word that carries the sunlit ardor of an object deep in drenching noon, the argument of binding touch, but it's only a sequence of pulses on a dullish screen and all it can do is make you pensive-a word that spreads a longing through the raw sprawl of the city and out across the dreaming bourns and orchards to the solitary hills.

Peace.