Jil and Craigor’s home was a long cabin atop a flat live-aboard scow called the Merz Boat. Propelled by cilia like a giant paramecium, the piezoplastic boat puttered around the shallow, turbid bay waters near the industrial zone of San Francisco. Craigor had bought the one-of-a-kind Merz Boat quite cheaply from an out-of-work exec during the chaos that followed the nant debacle. He’d renamed the boat in honor of one of his personal heroes, the Dadaist artist Kurt Schwitters, who’d famously turned his house into an assemblage called the Merzbau. Merz was Schwitters’s made-up word meaning, according to Craigor, “gnarly stuff that I can get for free.”

Jil Zonder was eye-catching: more than pretty, she moved with perfect grace. She had dark, blunt-cut hair, a straight nose, and a ready laugh. She’d been a good student: an English major with a minor in graphics and design, planning a career in advertising. But midway through college she had developed a problem with sudocoke abuse and dropped out.

She made it into recovery, blundered into an early marriage, and had kids with Craigor: a son and a daughter, Momotaro and Bixie, aged eleven and ten. The four of them made a close-knit, relatively happy family, however, Jil did sometimes feel a bit trapped, especially now that she was moving into her thirties.

Although Jil had finished up college and still dreamed of making it as a designer, she was currently working as a virtual booth bunny for ExaExa, doing demos at online trade fairs, with her body motion-captured, tarted up, and fed to software developers. All her body joints were tagged with subcutaneous sensors. She’d gotten into the product-dancer thing back when her judgment had been impaired by sudocoke. Dancing was easy money, and Jil had a gift for expressing herself in movement. Too bad the product-dancer audience consisted of slobbering nerds. But now she was getting close to landing an account with Yu Shu, a Korean self-configuring athletic-shoe manufacturer. She’d already sold them a slogan: “Our goo grows on you.”

Craigor Connor was a California boy: handsome, good-humored, and not overly ambitious. Comfortable in his own skin. He called himself an assemblagist sculptor, which meant that he was a packrat. The vast surface area of the Merz Boat suited him. Pleasantly idle of a summer evening, he’d amuse himself by arranging his junk in fresh patterns on the elliptical pancake of the deck and marking colored link-lines into the deck’s computational plastic.