Obsidian had drawn her closer to him and she had put her head on his shoulder when suddenly he braked hard, almost throwing her off the seat. Out of the corner of her eye, she saw that someone had run across the street in front of the car. One car on the street and someone had to run in front of it.

  Straightening up, Rye saw that the runner was a woman, fleeing from an old frame house to a boarded-up storefront. She ran silently, but the man who followed her a moment later shouted what sounded like garbled words as he ran. He had something in his hand. Not a gun. A knife, perhaps.

  The woman tried a door, found it locked, looked around desperately, finally snatched up a fragment of glass broken from the storefront window. With this she turned to face her pursuer. Rye thought she would be more likely to cut her own hand than to hurt anyone else with the glass.

  Obsidian jumped from the car, shouting. It was the first time Rye had heard his voice—deep and hoarse from disuse. He made the same sound over and over the way some speechless people did, “Da, da, da!”

  Rye got out of the car as Obsidian ran toward the couple. He had drawn his gun. Fearful, she drew her own and released the safety. She looked around to see who else might be attracted to the scene. She saw the man glance at Obsidian, then suddenly lunge at the woman. The woman jabbed his face with her glass, but he caught her arm and managed to stab her twice before Obsidian shot him.

  The man doubled, then toppled, clutching his abdomen. Obsidian shouted, then gestured Rye over to help the woman.

  Rye moved to the woman’s side, remembering that she had little more than bandages and antiseptic in her pack. But the woman was beyond help. She had been stabbed with a long, slender, boning knife.

  She touched Obsidian to let him know the woman was dead. He had bent to check the wounded man who lay still and also seemed dead. But as Obsidian looked around to see what Rye wanted, the man opened his eyes. Face contorted, he seized Obsidian’s just-holstered revolver and fired. The bullet caught Obsidian in the temple and he collapsed.

  It happened just that simply, just that fast. An instant later, Rye shot the wounded man as he was turning the gun on her.

  And Rye was alone—with three corpses.

  She knelt beside Obsidian, dry-eyed, frowning, trying to understand why everything had suddenly changed. Obsidian was gone. He had died and left her—like everyone else.

  Two very small children came out of the house from which the man and woman had run—a boy and girl perhaps three years old. Holding hands, they crossed the street toward Rye. They stared at her, then edged past her and went to the dead woman. The girl shook the woman’s arm as though trying to wake her.

  This was too much. Rye got up, feeling sick to her stomach with grief and anger. If the children began to cry, she thought she would vomit.

  They were on their own, those two kids. They were old enough to scavenge. She did not need any more grief. She did not need a stranger’s children who would grow up to be hairless chimps.

  She went back to the car. She could drive home, at least. She remembered how to drive.

  The thought that Obsidian should be buried occurred to her before she reached the car, and she did vomit.

  She had found and lost the man so quickly. It was as though she had been snatched from comfort and security and given a sudden, inexplicable beating. Her head would not clear. She could not think.

  Somehow, she made herself go back to him, look at him. She found herself on her knees beside him with no memory of having knelt. She stroked his face, his beard. One of the children made a noise and she looked at them, at the woman who was probably their mother. The children looked back at her, obviously frightened. Perhaps it was their fear that reached her finally.

  She had been about to drive away and leave them. She had almost done it, almost left two toddlers to die. Surely there had been enough dying. She would have to take the children home with her. She would not be able to live with any other decision. She looked around for a place to bury three bodies. Or two. She wondered if the murderer were the children’s father. Before the silence, the police had always said some of the most dangerous calls they went out on were domestic disturbance calls. Obsidian should have known that—not that the knowledge would have kept him in the car. It would not have held her back either. She could not have watched the woman murdered and done nothing.

  She dragged Obsidian toward the car. She had nothing to dig with here, and no one to guard for her while she dug. Better to take the bodies with her and bury them next to her husband and her children. Obsidian would come home with her after all.

  When she had gotten him onto the floor in the back, she returned for the woman. The little girl, thin, dirty, solemn, stood up and unknowingly gave Rye a gift. As Rye began to drag the woman by her arms, the little girl screamed, “No!”

  Rye dropped the woman and stared at the girl.

  “No!” the girl repeated. She came to stand beside the woman. “Go away!” she told Rye.

  “Don’t talk,” the little boy said to her. There was no blurring or confusing of sounds. Both children had spoken and Rye had understood. The boy looked at the dead murderer and moved farther from him. He took the girl’s hand. “Be quiet,” he whispered.

  Fluent speech! Had the woman died because she could talk and had taught her children to talk? Had she been killed by a husband’s festering anger or by a stranger’s jealous rage? And the children…they must have been born after the silence. Had the disease run its course, then? Or were these children simply immune? Certainly they had had time to fall sick and silent. Rye’s mind leaped ahead. What if children of three or fewer years were safe and able to learn language? What if all they needed were teachers? Teachers and protectors.

  Rye glanced at the dead murderer. To her shame, she thought she could understand some of the passions that must have driven him, whoever he was. Anger, frustration, hopelessness, insane jealousy…how many more of him were there—people willing to destroy what they could not have?

  Obsidian had been the protector, had chosen that role for who knew what reason. Perhaps putting on an obsolete uniform and patrolling the empty streets had been what he did instead of putting a gun into his mouth. And now that there was something worth protecting, he was gone.

  She had been a teacher. A good one. She had been a protector, too, though only of herself. She had kept herself alive when she had no reason to live. If the illness let these children alone, she could keep them alive.

  Somehow she lifted the dead woman into her arms and placed her on the back seat of the car. The children began to cry, but she knelt on the broken pavement and whispered to them, fearful of frightening them with the harshness of her long unused voice.

  “It’s all right,” she told them. “You’re going with us, too. Come on.” She lifted them both, one in each arm. They were so light. Had they been getting enough to eat?

  The boy covered her mouth with his hand, but she moved her face away. “It’s all right for me to talk,” she told him. “As long as no one’s around, it’s all right.” She put the boy down on the front seat of the car and he moved over without being told to, to make room for the girl. When they were both in the car Rye leaned against the window, looking at them, seeing that they were less afraid now that they watched her with at least as much curiosity as fear.

  “I’m Valerie Rye,” she said, savoring the words. “It’s all right for you to talk to me.”

  Introduction to “Snow”

  by John Crowley

  I first saw Crowley’s name on the cover of a novel called The Deep. There was a cover quote from Harlan Ellison that said, if I remember correctly, that anyone who didn’t buy and read this book immediately was too stupid to walk and hold their pants up. Or something like that. Anyway, I’ve always made it a practice in my life to do just what Harlan Ellison says, so I bought the book.

  The thing had all the earmarks of an intellectual puzzle; there was a roster of players at the beginning, so you could tell—literally—the red team from the black. It was a game of checkers, eh? Kings getting crowned and hopping all over the board.

  But in the reading of it, I discovered that it was far more than a mere intellectual exercise. Crowley was a writer of extraordinary power, and whatever his abstract plan, his characters emerged human and took hold of my heart. That it was sometimes hard to tell just what was going on was a minor flaw. Ellison was right—Crowley was a writer who sprayed brilliance the way dogs shake off rain.

  Since then he has added ever-worthier books to his oeuvre—Engine Summer, a science fiction pastoral; Aegypt; the much-renowned Little, Big; others. It is, without question, his novels that have made him one of the most respected and influential writers in science fiction. But in the tight confines of a short story like “Snow,” he can take the Heisenberg Uncertainty Principle and make a crystal out of it, small but complex and multifaceted, beautiful even as the breath of entropy melts it before your eyes.

  SNOW

  John Crowley

  I don’t think Georgie would ever have got one for herself: She was at once unsentimental and a little in awe of death. No, it was her first husband—an immensely rich and (from Georgie’s description) a strangely weepy guy, who had got it for her. Or for himself, actually, of course. He was to be the beneficiary. Only he died himself shortly after it was installed. If installed is the right word. After he died, Georgie got rid of most of what she’d inherited from him, liquidated it. It was cash that she had liked best about that marriage anyway; but the Wasp couldn’t really be got rid of. Georgie ignored it.

  In fact the thing really was about the size of a wasp of the largest kind, and it had the same lazy and mindless fight. And of course it really was a bug, not of the insect kind but of the surveillance kind. And so its name fit all around: one of those bits of accidental poetry the world generates without thinking. O Death, where is thy sting?

  Georgie ignored it, but it was hard to avoid; you had to be a little careful around it; it followed Georgie at a variable distance, depending on her motions and the numbers of other people around her, the level of light; and the tone of her voice. And there was always the danger you might shut it in a door or knock it down with a tennis racket.

  It cost a fortune (if you count the access and the perpetual care contract, all prepaid), and though it wasn’t really fragile, it made you nervous.

  It wasn’t recording all the time. There had to be a certain amount of light, though not much. Darkness shut it off. And then sometimes it would get lost. Once when we hadn’t seen it hovering around for a time, I opened a closet door, and it flew out, unchanged. It went off looking for her, humming softly. It must have been shut in there for days.

  Eventually it ran out, or down. A lot could go wrong, I suppose, with circuits that small, controlling that many functions. It ended up spending a lot of time bumping gently against the bedroom ceiling, over and over, like a winter fly. Then one day the maids swept it out from under the bureau, a husk. By that time it had transmitted at least eight thousand hours (eight thousand was the minimum guarantee) of Georgie: of her days and hours, her comings in and her goings out, her speech and motion, her living self—all on file, taking up next to no room, at The Park. And then, when the time came, you could go there, to The Park, say on a Sunday afternoon; and in quiet landscaped surroundings (as The Park described it) you would find her personal resting chamber, and there, in privacy, through the miracle of modern information storage and retrieval systems, you could access her, her alive, her as she was in every way, never changing or growing any older, fresher (as The Park’s brochure said) than in memory ever green.

  I married Georgie for her money, the same reason she married her first, the one who took out The Park’s contract for her. She married me, I think, for my looks; she always had a taste for looks in men. I wanted to write. I made a calculation that more women than men make, and decided that to be supported and paid for by a rich wife would give me freedom to do so, to “develop.” The calculation worked out no better for me than it does for most women who make it. I carried a typewriter and a case of miscellaneous paper from Ibiza to Gstaad to Bial to London, and typed on beaches, and learned to ski. Georgie liked me in ski clothes.

  Now that those looks are all but gone, I can look back on myself as a young hunk and see that I was in a way a rarity, a type that you run into often among women, far less among men, the beauty unaware of his beauty, aware that he affects women profoundly and more or less instantly but doesn’t know why; thinks he is being listened to and understood, that his soul is being seen, when all that’s being seen is long-lashed eyes and a strong, square, tanned wrist turning in a lovely gesture, stubbing out a cigarette. Confusing. By the time I figured out why I had for so long been indulged and cared for and listened to, why I was interesting, I wasn’t as interesting as I had been. At about the same time I realized I wasn’t a writer at all. Georgie’s investment stopped looking as good to her, and my calculation had ceased to add up; only by that time I had come, pretty unexpectedly, to love Georgie a lot, and she just as unexpectedly had come to love and need me too, as much as she needed anybody. We never really parted, even though when she died I hadn’t seen her for years. Phone calls, at dawn or four A.M. because she never, for all her travel, really grasped that the world turns and cocktail hour travels around with it. She was a crazy, wasteful, happy woman, without a trace of malice or permanence or ambition in her—easily pleased and easily bored and strangely serene despite the hectic pace she kept up. She cherished things and lost them and forgot them: things, days, people. She had fun, though, and I had fun with her; that was her talent and her destiny, not always an easy one. Once, hung over in a New York hotel, watching a sudden snowfall out the immense window, she said to me, “Charlie, I’m going to die of fun.”

  And she did. Snow-foiling in Austria, she was among the first to get one of those snow leopards, silent beasts as fast as speedboats. Alfredo called me in California to tell me, but with the distance and his accent and his eagerness to tell me he wasn’t to blame, I never grasped the details. I was still her husband, her closest relative, heir to the little she still had, and beneficiary, too, of The Park’s access concept. Fortunately, The Park’s services included collecting her from the morgue in Gstaad and installing her in her chamber at The Park’s California unit. Beyond signing papers and taking delivery when Georgie arrived by freight airship at Van Nuys, there was nothing for me to do. The Park’s representative was solicitous and made sure I understood how to go about accessing Georgie, but I wasn’t listening. I am only a child of my time, I suppose. Everything about death, the fact of it, the fate of the remains, and the situation of the living faced with it, seems grotesque to me, embarrassing, useless. And everything done about it only makes it more grotesque, more useless: Someone I loved is dead; let me therefore dress in clown’s clothes, talk backwards, and buy expensive machinery to make up for it. I went back to L.A.

  A year or more later, the contents of some safe-deposit boxes of Georgie’s arrived from the lawyer’s: some bonds and such stuff and a small steel case, velvet lined, that contained a key, a key deeply notched on both sides and headed with smooth plastic, like the key to an expensive car.

  Why did I go to The Park that first time? Mostly because I had forgotten about it: Getting that key in the mail was like coming across a pile of old snapshots you hadn’t cared to look at when they were new but which after they have aged come to contain the past, as they did not contain the present. I was curious.

  I understood very well that The Park and its access concept were very probably only another cruel joke on the rich, preserving the illusion that they can buy what can’t be bought, like the cryonics fad of thirty years ago. Once in Ibiza, Georgie and I met a German couple who also had a contract with The Park; their Wasp hovered over them like a Paraclete and made them self-conscious in the extreme—they seemed to be constantly rehearsing the eternal show being stored up for their descendants. Their deaths had taken over their lives, as though they were pharaohs. Did they, Georgie wondered, exclude the Wasp from their bedroom? Or did its presence there stir them to greater efforts, proofs of undying love and admirable vigor for the unborn to see?

  No, death wasn’t to be cheated that way, any more than by pyramids, by masses said in perpetuity. It wasn’t Georgie saved from death that I would find. But there were eight thousand hours of her life with me, genuine hours, stored there more carefully than they could be in my porous memory; Georgie hadn’t excluded the Wasp from her bedroom, our bedroom, and she who had never performed for anybody could not have conceived of performing for it. And there would be me, too, undoubtedly, caught unintentionally by the Wasp’s attention: Out of those thousands of hours there would be hundreds of myself, and myself had just then begun to be problematic to me, something that had to be figured out, something about which evidence had to be gathered and weighed. I was thirty-eight years old.

  That summer, then, I borrowed a Highway Access Permit (the old HAPpy cards of those days) from a county lawyer I knew and drove the coast highway up to where The Park was, at the end of a pretty beach road, all alone above the sea. It looked from the outside like the best, most peaceful kind of Italian country cemetery, a low stucco wall topped with urns, amid cypresses, an arched gate in the center. A small brass plaque on the gate: PLEASE USE YOUR KEY. The gate opened, not to a square of shaded tombstones but onto a ramped corridor going down: The cemetery wall was an illusion, the works were underground. Silence, or nameless Muzak-like silence: solitude—whether the necessary technicians were discreetly hidden or none were needed. Certainly the access concept turned out to be simplicity itself, in operation anyway. Even I, who am an idiot about information technology, could tell that. The Wasp was genuine state-of-the-art stuff, but what we mourners got was as ordinary as home movies, as old letters tied up in ribbon.