food because of earthquake activity, so she practices starvation for days on end. At last she stopped crying and told me she was crying because she had a dramatic interview that afternoon. Then she began to cry again. She knew, when she sent the voice and phy-tape to the drama people that she had to do it, as her greatness might occur in the form of acting. But now she knew she’d judged wrong and it wouldn’t. The place where the interview was being held was the Theatra Concordacis, which had been advertising for trainees for weeks. It was a very little drama, with a very little paying membership. The actors had to pay to be in it, too, but Egyptia’s mother, who was at the bottom of an ocean exploring a pre-Columbian trench, had left a lot of money to look after Egyptia instead.
“Oh, Jane,” said Egyptia, blue-tinted tears running through her blue mascara. “Oh Jane! My heart’s beating in huge thuds. I think I’m dying. I shall die before I can do the interview.”
My eyes were already wet. Now my heart started instantly to bang in huge painful thuds, too. I am very hyperchondriacal, and tend to catch the symptoms of whatever disease is being described to me. My mother says this is a sign of imagination.
“Oh, Egyptia,” I said.
“Oh, Jane,” said Egyptia.
We each clung to our end of the video, gasping.
“What shall I do?” gasped Egyptia.
“I don’t know.”
“I must do the interview.”
“I think so, too.”
“I’m so afraid. There may be an earth tremor. Do you remember the tremors when we trapped the Asteroid?”
“No—”
Neither of us had been born then, but Egyptia had dreamed about it frequently, and got confused. I wondered if I felt Chez Stratos rocking in an incipient quake, but it’s supposed to be invulnerably stabilized, and anyway does sometimes rock, very gently, when there’s a strong wind.
“Jane,” said Egyptia, “you have to come with me. You have to be with me. You have to see me do the interview.”
“What are you dramatizing?”
“Death,” said Egyptia. She rolled her gorgeous eyes.
My mother likes me to spend time with Egyptia, who she thinks is insane. This will be stimulating for me, and will teach me responsibility toward others. Egyptia is, of course, afraid of my mother.
The Baxter Empire was out with Mother, it’s too extravagant anyway, and besides, I can’t drive or fly. So I walked over the Canyon and waited for the public flyer.
The air lines glistened beautifully overhead in the sunshine, and the dust rose from the Canyon like soft steam. As I waited for the flyer to come, I looked up at Chez Stratos, or up where I knew it was, a vague blue ghost. All you can really see from the ground are the steel supports.
Just before a flyer comes the air lines whistle. Not everyone knows this, since in the city it’s mostly too noisy to hear. I pressed the signal in the platform. The flyer came up and stopped like a big glass pumpkin.
Inside it was empty, but some of the seats had been slashed, presumably that morning, otherwise the overnight repair systems would have seen to it.
We sailed over the Canyon’s lip, into space as it were, and toward the city I could no longer see now that I was lower down than the house. I had to wait for the city now to put up its big gray-blue cones and stacked flashing window-glass and pillars on the skyline.
But something else had absorbed me. There was something odd about the robot machine which was driving the flyer. Normally, of course, it was just the box with driving digits and a slot for coins. Today, the flyer box had a head on. It was the head of a man about forty years of age, who hadn’t taken Rejuvinex (or a man of about seventy, who had), so there were some character lines. The eyes and the hair were colorless, and the face of the head was a sort of coppery color. When I put my coin in the slot, the head disoriented me by saying to me: “Welcome aboard.”
I sat down on a seat which hadn’t been slashed, and looked at the head. I had, of course, seen lots of robots, as we all do, since almost everything mechanical is run by robots in the city. And even Mother has three robots who are domestic in Chez Stratos, but they’re of shiny blue metal with polarized screens instead of faces. They look like spacemen to me, or like the suits men wear on the moon, or the Asteroid, and I always called our robots, therefore, the “spacemen.” In the city, they’re even more featureless, as you know, boxes on runners or panels set into walls.
Eventually I said to the flyer driver: “Why have you got a head today?”
I didn’t think it could answer, but it might. It did.
“I am an experimental format. I am put here to make you feel at home with me.”
“I see.”
“Do you think I am an improvement?”
“I’m not sure,” I said nervously.
“I am manufactured by Electronic Metals Ltd., 2 1?2 East Arbor.”
“Oh.”
“If you wish to receive a catalog of our products, press the button by my left ear.”
“I’ll ask my mother.”
Demeta would say: “You should make the decision yourself, darling.”
But I gazed at the back of the colorless hair, which looked real but peculiar, and I thought it was silly. And at the same time it was human enough so that I didn’t want to be rude to it.
Just then the outline of the city came in sight.
“You may see,” announced the head, “several and various experimental formats in the city today. It will also be possible to see nine Sophisticated Formats. These are operating on 23rd Avenue, the forecourt of the Deluxe Hyperia Building, on the third floor of Casa Bianca, on Star Street—” I lost track until it said “—the Grand Stairway leading to Theatra Concordacis.” Then I visualized Egyptia going into hysterics. “You may approach any of these formats and request information. The Sophisticated Formats do not dispense catalogs. Should you wish to purchase any format for your home, request the number of the model and the alphabetical registration. Each of the Sophisticated Formats has a specialized registration to enable the customer to memorize more clearly. These Formats do not have numbers. There is also…”
I lost interest altogether here, for the flyer was coming in across Les Anges Bridge. Below was all that glorious girderwork like spiderweb, and underneath, the Old River, polluted with chemicals and fantastically glowing purple with a top sheen of soft amber. I’m fascinated always by the strange mutated plants that grow out of the water, and the weird fish in armor that go leaping after the riverboats, clashing their jaws. A great tourist feature, the Old River. Beyond it, the city, where the poor people work at the jobs the machinery has left them to do, atrocious jobs like cleaning the ancient sewers—too narrow and eroded for the robot equipment to negotiate safely. Or elegant jobs in the department stores, particularly the more opulent second owner shops, which boasted: “Here you will be served only by
I got out of the flyer at the platform on the roof of Jagged’s, and went down in the lift to the subway. There was a gang fight going on in one of the corridors and I could hear the scream of robot sirens, but I didn’t see anything, which was a disappointment and a relief. I did once see a man stabbed at an outdoor visual. It didn’t upset me at the time. They rushed him away and replaced the parts of him that had been spoiled, though he would have had to pay for that on the installment plan—clearly he hadn’t been rich—which would probably mean he’d end up bankrupt. But later on, I suddenly remembered how he had fallen down, and the blood, and I began to get a terrible pain in my side where I pictured the knife going into him. My mother organized hypnotherapy for me until it went away.
Egyptia was standing at the foot of the Grand Stairway that leads up to the Theatra Concordacis. She was wearing gilt makeup, and a blue velvet mantle lined with lemon silk, and people were looking at her. A topaz hung
