“I’ve run some prelimary studies on the ship’s quantum computer,” Orphu continued, “and when you represent human consciousness as the standing wavefront phenomenon it really is, factor in terabytes of qubit quantum date on the wavefront basis for physical reality itself, apply the proper relativistic Coulomb field transforms to these mind-consciousness-reality wave functions, you quickly see how the post-humans opened Brane Holes to new universes and then teleported there themselves.”
“How?” said Prime Integrator Asteague/Che.
“They first opened Brane Holes to alternate universes in which there were points in space-time where entangled-pair wavefronts of human consciousness had already been,” said Orphu.
“Huh?” said Mahnmut.
“What is reality except a standing quantum wavefront collapsing through probability states?” asked Orphu. “How does the human mind work except as a sort of interferometer perceiving and collapsing those very wavefronts?”
Mahnmut still shook his head. He’d forgotten about the other moravecs standing on the bridge, forgotten that they might be taking his sub and the dropship down to Earth in less than three hours, forgotten the danger they were in… forgotten everything except the headache that his friend Orphu of Io was giving him.
“The post-humans were opening Brane Holes into alternate universes that had come into being through—or at least been perceived by—the focused lenses of pre-existing holographic wavefronts. Human imagination. Human genius.”
“Oh for the Christ’s sake,” said General Beh bin Adee.
“Possibly,” said Orphu. “If you assume an infinite or near-infinite set of alternate universes, then many of these have necessarily been imagined through the sheer force of human genius. Picture them as singularities of genius—Bell-state analyzers and editors of the pure quantum-foam of reality.”
“That’s metaphysics,” said Cho Li in a shocked voice.
“That’s bullshit,” said Suma IV.
“No, that’s what’s happened here,” said Orphu. “We have a terraformed Mars with altered gravity and are asked to believe that such terraforming could be achieved in a few years. That’s bullshit. We have statues of Prospero on a Mars where Greek gods live atop Mount Olympos and commute through time and space to an alternate Earth where Achilles and Hector are fighting over the future of Ilium. That’s bullshit. Unless…”
“Unless the post-humans opened portals to precisely those worlds and universes earlier imagined by the force of human genius,” said Prime Integrator Asteague/Che. “Which would explain the Prospero statues, the Calibanish creatures on Earth, and the existence of Achilles, Hector, Agamemnon and all the other humans on Ilium-Earth.”
“What about the Greek gods?” sneered Beh bin Adee. “Are we going to meet Jehovah and Buddha next?”
“We might,” said Orphu of Io. “But I would suggest that the Olympian gods we met are transformed post-humans. That’s where the post-humans disappeared to fourteen hundred years ago.”
“Why would they choose to change into gods?” asked Retrograde Sinopessen. “Especially gods whose powers come from nanotechnology and quantum tricks?”
“Why would they not?” asked Orphu. “Immortality, choice of gender, sex with each other and any mortal they choose to mate with, breeding many divine and mortal offspring—which is something the post-humans could not seem to do on their own—not to mention the decade-long chess game that is the siege of Troy.”
Mahnmut rubbed his head. “And the terraforming and gravity change on Mars…”
“Yes,” said Orphu. “It probably took the larger part of fourteen hundred years, not three years. And that was with the gods’ quantum technology at work.”
“So there’s a real Prospero down there or out there somewhere?” asked Mahnmut. “The Prospero from Shakespeare’s Tempest?”
“Or something or someone close to it,” said Orphu.
“What about the brain-monster that came through the Brane Hole on Earth just a few days ago?” asked Suma IV. The Ganymedan sounded angry. “Is it a hero in your precious human literature?”
“Possibly,” said Orphu. “Robert Browning once wrote a poem called ‘Caliban Upon Setebos’ in which the monster Caliban from Shakespeare’s Tempest ponders his god, a creature called Setebos, which Browning had Caliban describe only as ‘the many-handed as a cuttlefish.’ It was a god of arbitrary power that fed on fear and violence.”
“That’s quite a reach in speculation,” said Asteague/Che.
“Yes,” said Orphu. “But so is the creature we photographed that looks like a giant brain scuttling around on giant human hands. An improbable evolution in any universe, wouldn’t you say? But Robert Browning had an impressive imagination.”
“Are we going to meet Hamlet down there on Earth?” asked Suma IV with an audible sneer. “Oh,” said Mahnmut. “Oh. Oh, that would be nice.”
“Let’s not get carried away,” said Prime Integrator Asteague/Che.
“Orphu, where did you get this whole idea?”
Orphu sighed. Instead of responding verbally, a holographic projector in the comm pod atop the huge Ionian’s pitted and scarred carapace created an image that floated above the chart table.
Six fat books sat in a virtual bookcase. One of the books—Mahnmut saw that it was titled In Search of Lost Time—Volume III—The Guermantes Way—fluttered open to page 445. The image zoomed in on the type on the page.
Mahnmut suddenly realized that Orphu was optically blind—he couldn’t see what he was projecting. It meant that he had to have all of Proust’s six volumes memorized. The idea made Mahnmut want to howl.
Mahnmut read along with the others as the font floated in midair—
“People of taste tell us nowadays that Renoir is a great eighteenth-century painter. But in so saying they forget the element of Time, and that it took a great deal of time, even at the height of the nineteenth century, for Renoir to be hailed as a great artist. To succeed thus in gaining recognition, the original painter or the original writer proceeds on the lines of the oculist. The course of treatment they give us by their painting or by their prose is not always pleasant. When it is at an end the practitioner says to us: ‘Now look!’ And, lo and behold, the world around us (which was not created once and for all, but is created afresh as often as an original artist is born) appears to us entirely different from the old world, but perfectly clear. Women pass in the street, different from those we formerly saw, because they are
Renoirs, those Renoirs we persistently refused to see as women. The carriages, too, are Renoirs, and the water, and the sky; we feel tempted to go for a walk in the forest which is identical with the one which when we first saw it looked like anything in the world except a forest, like for instance a tapestry of innumerable hues but lacking precisely the hues peculiar to forests. Such is the new and perishable universe which has just been created. It will last until the next geological catastrophe is precipitated by a new painter or writer of original talent.”
All the moravecs by the chart table stood in silence, broken only by the ventilator hums, machine sounds, and soft background communication of the moravecs actually flying the Queen Mab at that critical moment as they approached the equatorial and polar rings of Earth.
Finally General Beh bin Adee broke the silence—“What solipsistic nonsense. What metaphysical garbage. What total horse manure.”
Orphu said nothing.
“Perhaps it is horse manure,” said Prime Integrator Asteague/Che. “But it’s the most plausible horse manure I’ve heard in the last nine months of surreality. And it’s earned Orphu of Io a ride in the hold of the submersible The Dark Lady when the dropship separates and drops into the Earth’s atmosphere in… two hours and fourteen minutes. Let us all go prepare.”