Mississippi Blues Kathleen Ann Goonan nanotech cycle 02 3S XHTML edition 1.0 scan notes and proofing history Contents Prologue • 1- Trouble in Mind • One: Resurrection Blues o 2- Beautiful Ohio • Two: Free-Fall Blues o Three: Cincinnati Underworld Woman o Four: Lost World Blues o Five: Jack O’ Diamonds and Lightnin’ Lil o Six: Mad Rafter Blues o Seven: Human Radio Blues o Eight: Ghostly Blues o Nine: Information Blues o 3- Blaze Gets the Blues • Ten: Soul Change Blues o Eleven: Dead Man Blues o 4- Down to Cairo • Twelve Winding Sheet Blues o Thirteen Change Your Mind Blues o Fourteen Revelation Blues o Fifteen Midnight Special o 5- Mattie • Sixteen: Big Bee Blues o 6 Cairo • Seventeen: Big Town Blues o 7- Fast Train Blues • Eighteen: New World Blues o Nineteen: Mississippi Blues o 8- Bright Mississippi • Twenty: Doppelganger Blues o Twenty-one: New Mind Blues o Twenty-two: Bomber Blues o Twenty-three: Nan in the Moon Blues o 9- Memphis • Twenty-four: Revolution Blues o Twenty-five: Memphis Blues o Twenty-six: Evil Eye Blues o Twenty-seven: Reunion Blues o 10- Alice and the Mysterious Stranger • Twenty-eight: Alice Blue Gown o Twenty-nine: Them Old Kozmic Blues o Thirty: Free Will Blues o Thirty-one: Past Blues o Thirty-two: Heavenly Blues o Thirty-three: Big Fish Blues o Thirty-four: Healing Blues o 11- Delta Blues • Thirty-five: Mattie’s Blues o Thirty-six: Blues in the Night o Thirty-seven: Changing Blues o Thirty-eight: Little Girl Blues o Thirty-nine: Definitely K Street Blues o Forty: Lost Future Blues o 12- Crescent City • Forty-one: To Miss New Orleans o Forty-two: Blues o Forty-three: True Grit Blues o Forty-four: Sad-Hearted Blues o Forty-five: New Orleans Blues o Forty-six: Blue Skies o Epilogue • Tor Books by Kathleen Ann Goonan Queen City Jazz The Bones of Time Mississippi Blues A TOM DOHERTY ASSOCIATES BOOK NEW YORK This is a work of fiction. All the characters and events portrayed in this novel are either fictitious or are used fictitiously. MISSISSIPPI BLUES Copyright © 1997 by Kathleen Ann Goonan Quotes from The Land Where the Blues Began by Alan Lomax (copyright 1993, published by Dell Publishing) used by permission of the author. All rights reserved. All rights reserved, including the right to reproduce this book, or portions thereof, in any form. This book is printed on acid-free paper. Edited by David G. Hartwell A Tor Book Published by Tom Doherty Associates, Inc. 175 Fifth Avenue New York, NY 10010 Tor Books on the World Wide Web: http://www.tor.com Tor® is a registered trademark of Tom Doherty Associates, Inc. Library of Congress Cataloging-in-Publication Data Goonan, Kathleen Ann. Mississippi blues / Kathleen Ann Goonan.—1st ed. p. cm. Sequel to: Queen city jazz. “A Tom Doherty Associates book.” ISBN 0-312-85917-1 I. Title. PS3557.0628M5 1997 813'.54—dc21 97-21892 CIP First Edition: December 1997 Printed in the United States of America For my parents, Thomas Goonan and Irma Knott Goonan, who made sure I had as many books as I wanted and all the time in the world to read them, with love and gratitude for all the joy. THANKS The support and encouragement of my husband, Joseph Mansy, were essential to the completion of this book, and I thank him for this largesse and confidence with all my heart. Thanks also to those who took the time to read and comment on the manuscript: Steve Brown, Tom Goonan, Pam Noles. Randy Simmons, Michaelene Pendleton, Kathleen Dalton-Woodbury, Tad Dembinski, and the Sycamore Hill workshop of 1995. As always, David Hartwell’s shaping of the material was essential. Minsky: We’re going to make machines intelligent. We are going to make them conscious! Englebart: You’re going to do all that for the machines? What are you going to do for the people? —Page 34, Out of Control , Kelly Mississippi Blues Prologue Blaze My name is Blaze. I am walking by the riverfront in Cincinnati. Cincinnati after the Third Nanotech Wave. I have to keep telling myself because I forget. There is something wrong with me. This is because I was dead, I guess. It is twilight: chilly, with a slight mist rising from the dark river. It blurs the lights that flicker festively now and then from Roebling’s ruined bridge, which extends bravely into the wild, earthquake-spawned confluence of the new and old Ohio Rivers. I know these things, can clap words to these qualities, and it is good for it means that language is returning. It is frightening for the connections between what you experience and the words, so infinitely rich, to vanish. The bottom falls out of the world. A jostling, rowdy crowd fills the riverfront. They dance to no music I can focus on; it is all just bits and pieces of shouted song, arising seemingly at random from the melee, each fragment conflicting with a thousand others in the general roar. There is so much noise it’s hard to think. But I have to keep going over what happened. Each time I remember a little more. These are the main things: I was shot in the chest by John, my Shaker Brother, at Shaker Hill just outside deserted Dayton where we lived secluded from nan, near the little empty town of Miamisburg. I don’t remember being shot, but that’s what Verity tells me. Verity killed John by throwing her radio stone at his head before he could shoot anyone else. She always had a good strong pitch. Maybe this is partly what is making me so sick: it seems as if everything went crazy and I don’t remember it. Maybe I should feel like celebrating because of my resurrection but I don’t. For a while I did, when I went into a bar with Sphere and played the piano while he played the saxophone. Then I was ecstatic—almost, truly, out of my body and out of my mind with joy. The language of music is lodged deep within me, and happily has not been lost. It is my core and always has been. But I can’t find Sphere right now. My eyes are playing tricks on me anyway. Sometimes all I can see are brilliant, moving splashes of color that I can’t visually parse, so I might not recognize him anyway. I look uphill into the City, which flashes like lightning as parts of it reactivate briefly. The buildings, from historically varying times, stand row on row like silent stones in a spectacularly huge and strange graveyard; then suddenly a vast splash of light illuminates a Tulip or a Rose on top of a building—terrifying, for these Flowers are out of scale, bigger than the deserted L. Steele Department Store just outside of Dayton. I am relieved when they darken again for I can forget that they exist when I don’t see them. Everyone I’ve ever known is dead, or gone, or, in the case of Verity, changed to some sort of inhuman being. Hot tears course down my cheeks. I collapse on a bench. I nod and take a beer some ecstatic soul presses into my hand before she reels away and swig it down, suddenly angry with everything. I clench my head between my trembling hands and a huge, single sob rips through me. I leap from the bench and run, uphill, into the City, away from the wildness. Panting, drenched in sweat after three blocks of running, I stop, and sway. Yes, this is a quiet street. Blessedly so, for I remember more of my story. I wasn’t really aware of what was happening so it’s just a story to me. Okay. My chest was ripped open from John’s rifle shot. Verity wrapped me in nan sheets that flashed with tiny lights. I was not conscious but my body did not deteriorate. Had John known that those sheets were there in the attic for so many years, he surely would have destroyed them. It would have made him supremely angry to be saved by them, as apparently he was, though he may still lie dead within them, somewhere. Verity braved the wilderness between Miamisburg and Cincinnati, stashed me (still alive but suspended) in Union Station, and dared to enter Cincinnati, this fortress surrounded by a nan-generated wall, enlivened within by nan. There’s that flickering again. It’s unsettling. Verity said that’s part of the rebooting process. Oh, God—a picture of Verity’s face! But—now it’s gone, leaving just a blank gray wall. It shone from the side of the building. For a moment it’s hard to breathe. But it really is like a dream here, so I’m not going to run screaming through the night, as seems appropriate. I can’t get upset over every little thing. I keep walking. Anyway, Verity did all this to find out how to revive me. But then, from what I can gather, she freed Cincinnati. I’m not sure what she freed it from. Something about how it was programmed, and how the people were filled with the thoughts and lives of others almost like slaves, year after year, and were stored somehow, suspended, between their brief flashes of lived time. I’m about six blocks from the river and it’s quiet. I remember—it’s not too far from the library. Verity tried to get me to go in a little while ago but I refused. I see a lovely building on my right called the Netherlands Hotel and admire the beautiful phrasing of matter Verity says is Art Deco. But then it all twists and blurs before my eyes. I’ve never been sick in my life and it is just awful to be this way. Queasy, uneasy, and afflicted with visual processing problems, that’s what Sphere called it. Down the street, in the center of a sort of mall, a black man sits on the base of a fountain, playing a guitar. He is a lone, dark figure, and his shadow-double looms large on the fountain behind him, bent where light causes it to climb the steps, and rippled where it rests against some ornate curves. His shadow moves in deliberate rhythm, and his hollering song rises above the soft splash of the fountain. The music draws me down the darkened street. As I approach him the building next to him lightens for about ten seconds, revealing jewel-glowing lines of light, green and yellow and red, which race upward then vanish while light floods from all the windows so I get a good look at him though it’s over fast and I’m still a long block away. Guitar chords stutter from beneath his long, plucking fingers in a strange, halting rhythm. It’s good and loud, and echoes down the empty street. The melodic quaver in his voice and the utterly new sound of this music sends a chill down my spine. He sings it harsh and straight and mournful, something about trouble in mind, which I certainly have. I am dizzy. Sweat inches down my face. I might live the rest of my life, and it might be short, in this awful, kaleidoscopic half-world. Yet this music redeems me somehow, reaches through the sensory flotsam and organizes it, removes the sickness. But he stops. I try to hurry forward but can’t go fast enough. I shout but find to my horror that my plea is only in my mind; I can’t make it emerge from my mouth. I try to run but my body won’t obey and I fall, so slowly, it seems, onto the hard pavement, the breath knocked out of me. There’s no point in trying to get up. The cool, rough pavement is at least dependable, cradles my aching body as an overwhelming despair washes through me. In this darkness, though I’m sure it’s not full night yet but only another spell of the blindness I’ve been experiencing, I might almost be dead again. Save for that distant music, beginning again, a bright, tenuous thread to which I cling. 1 Trouble in Mind One Resurrection Blues