Fall; or, Dodge in Hell - Neal Stephenson Page 0,3

of Northwest tech industrialists, was built out and decorated in a manner so simple, bare-bones, and informal as to be actually kind of ostentatious. Glass doors made up much of its western exterior wall, and he had left these open all night, doubling the size of the living area by joining it to the terrace. The terrace had a glass roof with infrared heaters like the ones suspended above the cash registers at Home Depot to keep the Somalian and Filipino checkout clerks from succumbing to hypothermia. These made it comfortable even when it was fifty degrees Fahrenheit and raining, which was about half of the year. In late summer and (as now) early autumn, the heaters weren’t needed, and so the terrace just served as an extension of the great room, which flowed into it without interruption. It faced toward Elliott Bay and the Olympic Mountains beyond.

Anomalous splashes of pink and purple flared against the wood, leather, and stone. Richard had a grandniece, Sophia, who for all intents and purposes was his granddaughter, and she came over frequently. Last weekend, her parents—Richard’s niece Zula and her husband, Csongor—had left her with him for two nights so that they could enjoy a little getaway in Port Townsend, on the other side of Puget Sound. Richard’s terrace had a direct view down onto the ferry terminal. He had a huge pair of Soviet military surplus binoculars mounted on a tripod at the railing. As their ferry had churned away from the terminal, Richard had perched Sophia on a stool and helped her get the lenses aimed down at the ferry, where Zula and Csongor, after parking their car belowdecks, had ascended to the topmost deck and stationed themselves at the stern to wave up at her. The whole affair had been coordinated via text message and had come off with the precision of a drone strike, all to the delight of little Sophia. Richard had been unaccountably depressed by it, or perhaps “ruminatively melancholy” was a better way of putting it.

Forty-eight hours of intensive grandniece/great-uncle bonding had ensued. In that short time Sophia’s apparatus of modern kiddom had permeated Richard’s apartment. Even if she never again set foot in this place, he would be finding Cheerios, glitter, sticky handprints, and barrettes for the next twenty years.

Sunday evening they had done the thing with the binoculars again as the parents had steamed back into port. Zula had explained what a good thing it was psychologically for a kid Sophia’s age to see the parents go away, but then to see them come back again. During the stress of executing their withdrawal, they had left behind a Whole Foods grocery sack containing several of Sophia’s books. Richard had placed it by the door so that it would be more difficult to overlook next time. But while his coffee machine was processing he retrieved it. He took it and his coffee to the low table on the terrace and pulled out two large-format picture books, which he had bought for Sophia on Saturday. Both of them featured the same style of colorful faux-naive artwork, for they were both by the same coauthors, Ingri and Edgar Parin d’Aulaire. One was entitled D’Aulaires’ Book of Greek Myths and the other D’Aulaires’ Book of Norse Myths. Richard had picked them up on impulse while he and Sophia had been hanging out in a bookstore. The cover art on Greek, perceived dimly in his peripheral vision, had jumped down his optic nerve to his brain and caused his body to freeze up almost as when he’d experienced sleep paralysis on the Isle of Man. Or, considering the context, as if he had beheld a Gorgon (and come to think of it, might it not be the case that ancient myths concerning Gorgons and basilisks were pre-scientific explanations of the phenomenon of sleep paralysis?).

The d’Aulaire books had been new when Richard had been young. He had worn out his boyhood copy, paging through it again and again, memorizing the lineages of the Titans, the gods, and whatnot, but mostly just staring at the pictures, letting them invade and shape his brain. In their general style they had a lot in common with little-kid art, which was probably what made them glom on to kid neurons like herpes. And like herpes, those pictures had remained silent and dormant in his central nervous system until adulthood. This had been triggered and made virulent by his having spied them in an unguarded