Origin

For the past few years, Kirsch had lived primarily in Spain, attributing his choice to an ongoing love affair with the country’s old-world charm, avant-garde architecture, eccentric gin bars, and perfect weather.

Once a year, when Kirsch returned to Cambridge to speak at the MIT Media Lab, Langdon would join him for a meal at one of the trendy new Boston hot spots that Langdon had never heard of. Their conversations were never about technology; all Kirsch ever wanted to discuss with Langdon was the arts.

“You’re my culture connection, Robert,” Kirsch often joked. “My own private bachelor of arts!”

The playful jab at Langdon’s marital status was particularly ironic coming from a fellow bachelor who denounced monogamy as “an affront to evolution” and had been photographed with a wide range of supermodels over the years.

Considering Kirsch’s reputation as an innovator in computer science, one could easily have imagined him being a buttoned-up techno-nerd. But he had instead fashioned himself into a modern pop icon who moved in celebrity circles, dressed in the latest styles, listened to arcane underground music, and collected a wide array of priceless Impressionist and modern art. Kirsch often e-mailed Langdon to get his advice on new pieces of art he was considering for his collection.

And then he would do the exact opposite, Langdon mused.

About a year ago, Kirsch had surprised Langdon by asking him not about art, but about God—an odd topic for a self-proclaimed atheist. Over a plate of short-rib crudo at Boston’s Tiger Mama, Kirsch had picked Langdon’s brain on the core beliefs of various world religions, in particular their different stories of the Creation.

Langdon gave him a solid overview of current beliefs, from the Genesis story shared by Judaism, Christianity, and Islam, all the way through the Hindu story of Brahma, the Babylonian tale of Marduk, and others.

“I’m curious,” Langdon asked as they left the restaurant. “Why is a futurist so interested in the past? Does this mean our famous atheist has finally found God?”

Edmond let out a hearty laugh. “Wishful thinking! I’m just sizing up my competition, Robert.”

Langdon smiled. Typical. “Well, science and religion are not competitors, they’re two different languages trying to tell the same story. There’s room in this world for both.”

After that meeting, Edmond had dropped out of contact for almost a year. And then, out of the blue, three days ago, Langdon had received a FedEx envelope with a plane ticket, a hotel reservation, and a handwritten note from Edmond urging him to attend tonight’s event. It read: Robert, it would mean the world to me if you of all people could attend. Your insights during our last conversation helped make this night possible.

Langdon was baffled. Nothing about that conversation seemed remotely relevant to an event that would be hosted by a futurist.

The FedEx envelope also included a black-and-white image of two people standing face-to-face. Kirsch had written a short poem to Langdon.

Robert,

When you see me face-to-face,

I’ll reveal the empty space.

—Edmond

Langdon smiled when he saw the image—a clever allusion to an episode in which Langdon had been involved several years earlier. The silhouette of a chalice, or Grail cup, revealed itself in the empty space between the two faces.

Now Langdon stood outside this museum, eager to learn what his former student was about to announce. A light breeze ruffled his jacket tails as he moved along the cement walkway on the bank of the meandering Nervión River, which had once been the lifeblood of a thriving industrial city. The air smelled vaguely of copper.

As Langdon rounded a bend in the pathway, he finally permitted himself to look at the massive, glimmering museum. The structure was impossible to take in at a glance. Instead, his gaze traced back and forth along the entire length of the bizarre, elongated forms.

This building doesn’t just break the rules, Langdon thought. It ignores them completely. A perfect spot for Edmond.

The Guggenheim Museum in Bilbao, Spain, looked like something out of an alien hallucination—a swirling collage of warped metallic forms that appeared to have been propped up against one another in an almost random way. Stretching into the distance, the chaotic mass of shapes was draped in more than thirty thousand titanium tiles that glinted like fish scales and gave the structure a simultaneously organic and extraterrestrial feel, as if some futuristic leviathan had crawled out of the water to sun herself on the riverbank.