Generosity

practical use. And so he creates private ventures, releases them into the world like new experiments, creatures compelled to live or die by the same rules of fitness that govern all creation.

What we want is a rich ecosystem: lots of ways of doing business. Lots of ways of doing science. The point is to find out where collective wisdom wants to go

I want the story to stay there, to develop this conflicted, tragically flawed character: collective wisdom. Instead, “The Genie and the Genome” squids off into a wholly unnecessary subplot concerning a healthy middle-class Chicago suburban couple who used preimplantation genetic diagnosis to keep their daughter from inheriting the colon cancer that has ravaged her father’s family. The couple simply had their embryos screened, then implanted one that didn’t contain the lethal mutation. All the others were tucked away in deep freeze, joining the burgeoning population of embryos that float in dreamless suspended animation complete with legal status.

And no group wisdom can possibly condemn these parents for plotting their daughter’s lucky escape.

Tonia Schiff will scour these clips years later on the flight down to Tunis, studying the sardonic show host for signs of herself as the Airbus glides over the black Mediterranean. She’ll freeze-frame through Over the Limit segments, examining the interviews for any hint of what she herself felt about the future of life, before it caught up with her present. Eventually, the battery on her notebook will give out, somewhere over southernmost Sicily. The future Schiff will study the past one for answers, but telegenic to the last, America’s most irreverent science journalist stays hidden in questions.

The group wants to see what the Bliss Chick is like when she’s tipsy. They take Miss Generosity to an Irish bar on North Wells where the bouncers don’t throw you out until you mess all over the floor. Someone should throw them out, just for ordering appletinis. They feed Thassa the first two mixed drinks she’s ever had and won’t let her eat anything. “In the interest of science,” the Joker says.

Everyone’s there except Kiyoshi, who mastered his agoraphobia as far as the bus stop before beelining home. Even Roberto sits in, trying not to spoil the fun. The result of the experiment is that the appletinis leave Thassa exactly like she is when sober, only less steady on her pins.

“You know what she’s like?” Adam says. “Every day, 24-7. She’s like being on a perpetual hit of E.”

“She’s nothing like that,” Roberto hisses. The two battle over the precise effects of 120 milligrams of 3,4- methylenedioxy-N-methylamphetamine. The girls look on as all four boys thrash out the matter, which is halfway to a shoving match when Thassa chides them. She channels them back into a group sing-along. She gets them all clapping a backbeat and singing a Berber folk song, like a circle of Kabyle women at a wedding. Strangers at other tables graduate from glaring to joining in.

They play pool. She shows them how much more fun the game is if you’re allowed to nurse the balls a little bit by hand, after hitting them with the stick. She helps everyone get the hang.

They talk about their teacher. Spock declares him as monumentally, magnificently tedious as a John Cage piece. Charlotte and Sue settle on the word hapless. Thassa asks for a definition, then fiercely disagrees. “I think he knows something big. I love him.”

“Umm ” Sue giggles. “Define your terms?”

“I simply love him!”

They settle back into their corner booth, their heads on each other’s shoulders-even brittle Sue Weston-reciting poetry. Thassa has them beat in every language. They don’t even care that they can’t understand four-fifths of her recitation.

“Do you know this Irish man Heaney? ‘Walk on air against your better judgment.’ He deserves immortality, just for that line!”

This line, they understand. The ceiling of the bar vanishes onto the open night, and all parties finally see that there’s no reason on earth why people can’t be one another’s eternal comfort.

But poems end and the night goes on. The group breaks up, scattering to three compass points. John, Charlotte, and Mason follow Thassa south. They want to take the train, but she refuses. “You can walk anywhere in this city. Nothing is so far as you think.” They stroll down glittering Wells, linking arms and harmonizing early Beatles songs, accusing each other of stealing one another’s parts. Thassa is ravenous and stops for kebab, which she makes all three of them taste.

Charlotte and Mason peel off at the Metra station. Mountainous Spock Thornell walks Thassa as far as her dorm. Then Maghreb hospitality, appletinis, American freedom, or hyperthymic naivete kicks in. She asks him up to her tiny efficiency to see the volume of Tamazight poetry she quoted from tonight, the only possession that has accompanied her everywhere in her long upheaval from Algiers to Paris to Montreal to the world’s erstwhile hog butcher.

Her room is a tiny tent in the desert. Spock barely feels her sit him down, hand him hot hibiscus tea, place the book in his lap, and turn the pages. Deep inside his tangled passageways, he’s already breaking free. Art is whatever you make. Walk on air. No one gets hurt by any true invention. She’s showing him the foreign pages, and the words are all in a Martian alphabet no human being could possibly read. The writing is chaos, the coldest thrill, the best drug of all.

He is slow in all things, monosyllabic, a great believer in the irrelevance of any emotion. But even for Thornell, the night is still magical. He has never been so close to a foreign country. He has never been outside the Midwest, except for the wild expanses of the Web. He’s waking up, after years of the grid system, to a life beyond containing.

What does he want? He wants what anyone wants. He wants this thing he can never have, this effortless glow, the one that’s so exhilarating just to sit this close to. He wants a release from his relentless his-ness-just for a minute, a little of her spark, her art of pulling a story out of annihilation. He wants to eat her flame.

Or he wants to pinch the wick. To snuff her into nothing. To leave her as terrified as anyone.

“Strip,” he says, and pulls at her blouse.

She clasps both hands to her breasts and laughs. “John! Quit. You’re mad!”

Her fear thrills him. “Off. Come on. Let’s go.”

“No! You’re nuts! You’ve lost your mind.”

And he’s loose in total liberty. Walking in the vacuum of outer space. He stands and starts tearing. He’s burned alive, refined inside the thing he needs.

She falls backward, but there’s no place to land. She grabs his wrists, but that’s worse than pointless. He’s twice her size, a crushing dimorphism. It thrills him to see the happiness vanish at last. She can do nothing, and that is more moving than any art.

All impediments tear loose. They are together, skin to skin. He looks down at the helpless brown thing between his legs. It hasn’t gone feral. It’s speaking, still her. She’s saying, “John, not this.” She’s terrified, but not for herself. She says, “John, this kills you.”

He slows to figure what she can possibly mean.

And slams back into the trap of thought. He rears up, rolls off her like she’s burning. She calls out, “Spock?” and the word scalds him. He curls up into a fetus on her carpet, moaning like a thing trying to be unborn.

Mid-November, the semester’s home stretch, and the city drops into real chill. The sky molds over, and even the two-block walk from the El to the college cracks Russell Stone’s skin. Now the lake effect begins to work against this place, and the vanished autumn is just a tease that he should have known better than to trust.

The security guard stops him in the lobby, flanked by two policemen. Someone has invented the scene just to create rising action. Harmon: story starts when a character’s core value no longer suffices to stabilize his world.

Stone is ready to confess, even before he hears the charges. They take him into a first-floor conference room to