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Chapters (70)
  1. Chapter 1
  2. Chapter 2
  3. Chapter 3
  4. Chapter 4
  5. Chapter 5
  6. Chapter 6
  7. Chapter 7
  8. Chapter 8
  9. Chapter 9
  10. Chapter 10
  11. Chapter 11
  12. Chapter 12
  13. Chapter 13
  14. Chapter 14
  15. Chapter 15
  16. Chapter 16
  17. Chapter 17
  18. Chapter 18
  19. Chapter 19
  20. Chapter 20
  21. Chapter 21
  22. Chapter 22
  23. Chapter 23
  24. Chapter 24
  25. Chapter 25
  26. Chapter 26
  27. Chapter 27
  28. Chapter 28
  29. Chapter 29
  30. Chapter 30
  31. Chapter 31
  32. Chapter 32
  33. Chapter 33
  34. Chapter 34
  35. Chapter 35
  36. Chapter 36
  37. Chapter 37
  38. Chapter 38
  39. Chapter 39
  40. Chapter 40
  41. Chapter 41
  42. Chapter 42
  43. Chapter 43
  44. Chapter 44
  45. Chapter 45
  46. Chapter 46
  47. Chapter 47
  48. Chapter 48
  49. Chapter 49
  50. Chapter 50
  51. Chapter 51
  52. Chapter 52
  53. Chapter 53
  54. Chapter 54
  55. Chapter 55
  56. Chapter 56
  57. Chapter 57
  58. Chapter 58
  59. Chapter 59
  60. Chapter 60
  61. Chapter 61
  62. Chapter 62
  63. Chapter 63
  64. Chapter 64
  65. Chapter 65
  66. Chapter 66
  67. Chapter 67
  68. Chapter 68
  69. Chapter 69
  70. Afterword

What is this thing you call “the natural universe”? Is that something taken from your god? Ahhh, you have separated your parts to create the unique. You do not need this separation for your creations. This fluid evasiveness of your landscape is your strength. The patterns . . . ahhh, the patterns. From yourself come the forces which shape the course of each thought. Why do you confine your thought in a tiny fixed landscape?

You find a distinction between measurement and preparation of your landscape. You continually prepare, saying: “I am going to say something about . . .”But that limits what you say and it tells your listener to accept your limits. All such measurement and limiting date back to a common system in a simple, linear landscape. Look about you, Human! Where do your senses find such simplicity?

Does a second look at the landscape yield the same view as the first look? Why is your will so inflexible?

A magical affinity between object and likeness, between being and symbol, underlies all symbol systems. It is the assumed foundation of language. The word for thing or object in most languages is related to the word for say or speak and these, in turn, have their roots in magic.

—Kerro Panille, I Sing to the Avata

OAKES STOOD in stunned silence, staring at Jesus Lewis standing just inside the Ceepee cubby’s hatch. Somewhere, there was a background buzz. Oakes realized he had left the holofocus projecting Agrarium D-9. Yes . . . it was full dayside out there. He slapped the cut-off.

Lewis moved another step into the cubby. He was breathing heavily. His thin, straw-colored hair was disarrayed. His dark eyes moved left, right—probing the room. It was an eye movement which Oakes identified as characteristic of groundsiders. There was a patch of pseudoflesh over an injury on Lewis’ narrow, cleft chin, another over the bridge of his sharp nose. His thin mouth was twisted into a wry smile.

“What happened to you?”

“Clones . . .” Deep breath.”. . . revolt.”

“The Redoubt?” A sharp twinge of fear shot through Oakes.

“It’s all right.”

Limping, Lewis crossed the room, sank into a divan. “Is there any of your special joy juice around? Every last drop was lost at the Redoubt.”

Oakes hurried to a concealed locker, removed a bottle of raw Pandoran wine, opened it and handed the whole bottle to Lewis.

Lewis upended the wine and took four long swallows without a breath while he stared around the bottle at Oakes. The poor old Ceepee looked to be in bad shape. There were dark circles under his eyes. Tough.

For Oakes, the moment was welcome as a time to recover his wits. He did not mind serving Lewis and the sense of personal concern this conveyed would have a desired effect. Obviously, something very bad had happened at the Redoubt. Oakes waited until Lewis put down the bottle, then: ‘They revolted?”