2312

H our after hour they walked. It was easy to lose track of days, particularly since Pauline would keep track. The pseudoiterative was less pseudo than ever. This was the true iterative. Swan walked before Wahram, her shoulders slumped like those of a mime portraying dejection. Minutes dragged until each one felt like ten; it was an exponential expansion of time, a syruping of protraction. They would therefore live ten times as long. He cast about for something to say that would not irritate her. She was muttering at Pauline.

“I used to whistle when I was a kid,” he said, and tried a single tone. His lips felt thicker than they had when he was young. Oh yes-tongue higher against roof of mouth. Very good. “I would whistle the melodies from the symphonies I liked.”

“Whistle, then,” Swan said. “I whistle too.”

“Really!” he said.

“Yes. I told you. But you first. Do you do Beethoven, like what we heard at that concert?”

“I do, kind of. Just some of the tunes.”

“Do that, then.”

There had been a period in Wahram’s youth when every morning had had to begin with Beethoven’s Eroica, the breakthrough Third Symphony, announcement of a new age in music and indeed in the human spirit, written after Beethoven learned that he was going deaf. So Wahram whistled the two commanding notes that started the first movement, and then whistled the main line, at a tempo that fit with his walking pace. That wasn’t so hard to do, somehow. As he whistled along he was never sure he was going to remember the passage that came next, yet by the time he got to the point of change, the next one followed inevitably from it, and flowed from him quite satisfactorily. Somewhere in him these things remained. The sequence of long elaborate melodies flowed one to the next, in just the compelling logic of Beethoven’s own thinking. And this sequence consisted of one stirring inevitable song after another. Most of the passages should have been stranded by counterpoint and polyphonies, and he jumped from one orchestral section to another, depending on which one seemed the main line. But it had to be said that even as single tunes, inexpertly whistled, the magnificence of Beethoven’s music was palpable in the tunnel. The three sunwalkers drifted back, it seemed, to hear it better. After the first movement was over, Wahram found the other three movements came as fully to him as the first, so that by the time he was done, it had taken him about the same forty minutes that an orchestra would have taken with the real thing. The great variations of the finale were so stirring that he almost hyperventilated in the performance of it.

“Wonderful,” Swan said when he was done. “Really good. What tunes. My God. Do more. Can you do more?”

Wahram had to laugh. He thought it over. “Well, I think I could do the Fourth, Fifth, Sixth, Seventh, and Ninth. Also some bits of the quartets and sonatas, maybe. I’d lose the thread in a lot of those, I’m afraid. Maybe not in the late quartets. I’ve lived to those sweet things. I’d have to try and see how it went.”

“How can you remember so many?”

“For a long time that’s all I listened to.”

“That’s crazy. All right, try the Fourth, then. You can take them in order.”

“Later, please. I have to rest. My lips are already destroyed, I can feel them twice as big. They’re like a big old gasket right now.”

She laughed and let him be. An hour later, however, she brought it back up, and sounded like she would be very discouraged if he didn’t do it.

“All right, but you join me,” he said.

“But I don’t know the tunes. I don’t really remember the stuff I hear people play.”

“That doesn’t matter,” Wahram said. “Just whistle. You said you did.”

“I do, but it sounds like this.”

She whistled for a while: a glorious burble of music, exactly like some kind of songbird.

“Wow, you sound just like a bird,” he said. “Very fluid glissandos, and I-don’t-know-whats, but just like a bird.”

“Yes, that’s right. I have some skylark polyps in me.”

“You mean… in your brain? Bird brains, put into your own?”

“Yes. Alauda arvensis. Also some Sylvia borin, the garden warbler. But you know that birds’ brains are organized on completely different lines than mammal brains?”

“No.”

“I thought everyone knew that. Some qube architecture is based on bird brains, so it got discussed for a while.”

“I didn’t know.”

“Well, the thinking that we mammals do in layers of cells across our cortex, birds do in clusters of cells, distributed like bunches of grapes.”

“I didn’t know that.”

“So you can take some of your own stem cells and introduce skylark song node DNA into them, and then you can introduce it through the nose to the brain, and it makes a little cluster in the limbic system. Then when you whistle, the cluster links into your already existing musical networks. All those are very old parts. They’re almost like bird parts of the brain already. So the new ones get hooked in, and off you go.”

“You did this?”

“Yes.”

“How did it feel?”