watching people go about their business, and though not a word is spoken, the subtext is conspicuous. A young couple strolls by, the adoration of one bouncing off the tolerance of the other. Apprehension flickers and becomes steady as a businessman, fearful of his supervisor, begins to doubt a decision he made earlier today. A woman wears a mantle of simulated sophistication, but it slips when it brushes past the genuine article.
As always, the roles one plays become recognizable only with greater maturity. To me, these people seem like children on a playground; I'm amused by their earnestness, and embarassed to remember myself doing those same things. Their activities are appropriate for them, but I couldn't bear to participate now; when I became a man, I put away childish things. I will deal with the world of normal humans only as needed to support myself.
* * * *
I acquire years of education each week, assembling ever-larger patterns. I view the tapestry of human knowledge from a broader perspective than anyone ever has before; I can fill gaps in the design where scholars never even noticed a lack, and enrich the texture in places that they felt were complete.
The natural sciences have the clearest patterns. Physics admits of a lovely unification, not just at the level of fundamental forces, but when considering its extent and implications. Classifications like “optics” or “thermodynamics” are just straitjackets, preventing physicists from seeing countless intersections. Even putting aside aesthetics, the practical applications that have been overlooked are legion; years ago engineers could have been artifically generating spherically symmetric gravity fields.
Having realized this, however, I won't build such a device, or any other. It would require many custom-built components, all difficult and time-consuming to procure. Furthermore, actually constructing the device wouldn't give me any particular satisfaction, since I already know it would work, and it wouldn't illuminate any new gestalts.
* * * *
I'm writing part of an extended poem, as an experiment; after I've finished one canto, I'll be able to choose an approach for integrating the patterns within all the arts. I'm employing six modern and four ancient languages; they include most of the significant worldviews of human civilization. Each one provides different shades of meaning and poetic effects; some of the juxtapositions are delightful. Each line of the poem contains neologisms, born by extruding words through the declensions of another language. If I were to complete the entire piece, it could be thought of as Finnegans Wake multiplied by Pound's Cantos .
* * * *
The CIA interrupts my work; they're baiting a trap for me. After two months of trying, they've accepted that they can't locate me by conventional methods, so they've turned to more drastic measures. The news services report that the girlfriend of a deranged murderer has been charged with aiding and abetting his escape. The name given is Connie Perritt, someone I was seeing last year. If it goes to trial, it's a foregone conclusion that she'll be sentenced to a lengthy prison term; the CIA is hoping that I won't allow that. They expect me to attempt a maneuver that will expose me to capture.
Connie's preliminary hearing is tomorrow. They'll ensure that she's released on bail, through a bondsman if necessary, to give me an opportunity to contact her. Then they'll saturate the area around her apartment with undercover agents to wait for me.
* * * *
I begin editing the first image onscreen. These digital photos are so minimal compared to holos, but they serve the purpose. The photos, taken yesterday, show the exterior of Connie's apartment building, the street out front, and nearby intersections. I move the cursor across the screen, drawing small crosshairs in certain locations on the images. A window, with lights out but curtains open, in the building diagonally opposite. A street
As always, the roles one plays become recognizable only with greater maturity. To me, these people seem like children on a playground; I'm amused by their earnestness, and embarassed to remember myself doing those same things. Their activities are appropriate for them, but I couldn't bear to participate now; when I became a man, I put away childish things. I will deal with the world of normal humans only as needed to support myself.
* * * *
I acquire years of education each week, assembling ever-larger patterns. I view the tapestry of human knowledge from a broader perspective than anyone ever has before; I can fill gaps in the design where scholars never even noticed a lack, and enrich the texture in places that they felt were complete.
The natural sciences have the clearest patterns. Physics admits of a lovely unification, not just at the level of fundamental forces, but when considering its extent and implications. Classifications like “optics” or “thermodynamics” are just straitjackets, preventing physicists from seeing countless intersections. Even putting aside aesthetics, the practical applications that have been overlooked are legion; years ago engineers could have been artifically generating spherically symmetric gravity fields.
Having realized this, however, I won't build such a device, or any other. It would require many custom-built components, all difficult and time-consuming to procure. Furthermore, actually constructing the device wouldn't give me any particular satisfaction, since I already know it would work, and it wouldn't illuminate any new gestalts.
* * * *
I'm writing part of an extended poem, as an experiment; after I've finished one canto, I'll be able to choose an approach for integrating the patterns within all the arts. I'm employing six modern and four ancient languages; they include most of the significant worldviews of human civilization. Each one provides different shades of meaning and poetic effects; some of the juxtapositions are delightful. Each line of the poem contains neologisms, born by extruding words through the declensions of another language. If I were to complete the entire piece, it could be thought of as Finnegans Wake multiplied by Pound's Cantos .
* * * *
The CIA interrupts my work; they're baiting a trap for me. After two months of trying, they've accepted that they can't locate me by conventional methods, so they've turned to more drastic measures. The news services report that the girlfriend of a deranged murderer has been charged with aiding and abetting his escape. The name given is Connie Perritt, someone I was seeing last year. If it goes to trial, it's a foregone conclusion that she'll be sentenced to a lengthy prison term; the CIA is hoping that I won't allow that. They expect me to attempt a maneuver that will expose me to capture.
Connie's preliminary hearing is tomorrow. They'll ensure that she's released on bail, through a bondsman if necessary, to give me an opportunity to contact her. Then they'll saturate the area around her apartment with undercover agents to wait for me.
* * * *
I begin editing the first image onscreen. These digital photos are so minimal compared to holos, but they serve the purpose. The photos, taken yesterday, show the exterior of Connie's apartment building, the street out front, and nearby intersections. I move the cursor across the screen, drawing small crosshairs in certain locations on the images. A window, with lights out but curtains open, in the building diagonally opposite. A street
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