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Zima Blue

by Alastair Reynolds

After the first week people started drifting away from the island. The viewing stands around the pool became emptier by the day. The big tourist ships hauled back toward interstellar space. Art fiends, commentators and critics packed their bags in Venice. Their disappointment hung over the lagoon like a miasma.

I was one of the few who stayed on Murjek, returning to the stands each day. I’d watch for hours, squinting against the trembling blue light reflected from the surface of the water. Face down, Zima’s pale shape moved so languidly from one end of the pool to the other that it could have been mistaken for a floating corpse. As he swam I wondered how I was going to tell his story, and who was going to buy it. I tried to remember the name of my first newspaper, back on Mars. They wouldn’t pay as much as some of the bigger titles, but some part of me liked the idea of going back to the old place. It had been a long time… I queried the AM, wanting it to jog my memory about the name of the paper. There’d been so many since… hundreds, by my reckoning. But nothing came. It took me another yawning moment to remember that I’d dismissed the AM the day before.

“You’re on your own, Carrie,” I said. “Start getting used to it. ”

In the pool, the swimming figure ended a length and began to swim back toward me.

Two weeks earlier I’d been sitting in the Piazza San Marco at noon, watching white figurines glide against the white marble of the clock tower. The sky over Venice was jammed with ships parked hull-to-hull.

Their bellies were quilted in vast glowing panels, tuned to match the real sky. The view reminded me of the work of a pre-Expansion artist who had specialised in eye-wrenching tricks of perspective and composition: endless waterfalls, interlocking lizards. I formed a mental image and queried the fluttering presence of the AM, but it couldn’t retrieve the name.

I finished my coffee and steeled myself for the bill.

I’d come to this white marble version of Venice to witness the unveiling of Zima’s final work of art. I’d had an interest in the artist for years, and I’d hoped I might be able to arrange an interview. Unfortunately several thousand other members of the in-crowd had come up with exactly the same idea. Not that it mattered what kind of competition I had anyway; Zima wasn’t talking.

The waiter placed a folded piece of card on my table.

All we’d been told was to make our way to Murjek, a waterlogged world most of us had never heard of before. Murjek’s only claim to fame was that it hosted the one hundred and seventy-first known duplicate of Venice, and one of only three Venices rendered entirely in white marble. Zima had chosen Murjek to host his final work of art, and to be the place where he would make his retirement from public life.

With a heavy heart I lifted the bill to inspect the damage. Instead of the expected bill there was a small blue card, printed in fine gold italic lettering. The shade of blue was that precise, powdery, aquamarine that Zima had made his own. The card was addressed to me, Carrie Clay, and it said that Zima wanted to talk to me about the unveiling. If I was interested, I should report to the Rialto Bridge in exactly two hours.