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  Copyright

  This book is a work of fiction. Names, characters, places, and incidents are the product of the author’s imagination or are used fictitiously. Any resemblance to actual events, locales, or persons, living or dead, is coincidental.

  Copyright © 2016 by Greg Bear

  Cover design by Kirk Benshoff

  Cover images © Arcangel Images

  Cover copyright © 2016 by Hachette Book Group, Inc.

  Hachette Book Group supports the right to free expression and the value of copyright. The purpose of copyright is to encourage writers and artists to produce the creative works that enrich our culture.

  The scanning, uploading, and distribution of this book without permission is a theft of the author’s intellectual property. If you would like permission to use material from the book (other than for review purposes), please contact [email protected]. Thank you for your support of the author’s rights.

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  First ebook edition: December 2016

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  ISBNs: 978-0-316-22397-3 (hardcover), 978-0-316-22396-6 (ebook)

  E3-20161104-JV-PC

  Contents

  COVER

  TITLE PAGE

  COPYRIGHT

  DEDICATION

  PART ONE DANCING ON CLOUDS

  YOU CAN GO IN NOW, BUT PLEASE DON’T

  FISH MARKET DREAMS

  COLD TRENCHES

  THE TROUBLE WITH HARRY

  TIME IS NOT ON MY SIDE, AND NEVER WAS

  SORRY, CHARLIE

  DELIVERED

  GARDEN OF ODIN

  HAMSTER LIFE

  ROTATIONS

  DIVISION FOUR

  OUTER OF OUTERS

  AFTER KARNAK

  A WORLD OF SHIT, WITH RAZOR BLADES

  GHOSTS, DEAD PEOPLE, AND THINGS THAT NEVER WERE

  A PAIR OF ACES

  QUESTIONS NEVER ASKED

  SORROW AND PITY

  THE SITUATION THAT PREVAILS

  HORN AND IVORY, BLOOD AND BONE

  PART TWO PLUTO AND BEYOND

  RUNNING ON EMPTY

  INTO THE WEIRD

  THE SECRET WORLD OF PLANTS

  CLOSER TO THE PALACE

  AFTERBIRTH

  REMEMBRANCE PAST

  WINTER DREAMS

  DAYS OF FUTURE PAST

  SLEEP OF REASON

  DELIVERY AND REJECTION

  LEAVE NOTICE AT THE DOOR

  SUN-PLANET

  ANCIENT OF DAYS

  THE LAST ENEMY

  THE LAST INSTAURATION

  THE LONG HAUL HOME

  MARTIAN RETURN

  HOME IS THE HUNTER

  HOME FROM THE STARS

  AND THE CHILD HOME FROM THE WARS

  SBLM

  SAYONARA

  PUTTING ON FLESH

  UPGRADES

  ALSO BY GREG BEAR

  ORBIT NEWSLETTER

  For those in my family who traveled far in company of service members, and those who waited at home in times of war:

  Florence Bear

  Earl Bear

  Irene Garrett

  George Garrett

  Lorraine Garrett

  Lynn Garrett

  Dan Garrett

  Kathleen Garrett

  Colleen Garrett

  Devin Garrett

  Barbara Julian

  Wilma Bear

  PART ONE

  DANCING ON CLOUDS

  I hate transitions, and this is the worst.

  In the control cabin of our Oscar, a gigantic centipede made to swim and fight in Titan’s freezing saline sea, a dozen klicks below the scummy, icy crust—

  Pinched and stabbed and wired through and through by the suits we thought were meant to protect us—

  I’ve never been more afraid and lost and in pain. We’re exhausted—no surprise, after our passage through the ice station’s freeze-dried carnage. Seeds deposited from the stores of our orbiting Spook fused with the station’s walls, chewed them up, and converted them into five Oscars—ours and the four others flanking us before the labyrinth of the bug archive.

  Our former enemies are hiding in that maze. Our former allies are creeping up from behind to destroy us all.

  Lieutenant Colonel Joe Sanchez, Captain Naveen Jacobi, Sergeant Chihiro Ishida—our Winter Soldier, half of her body replaced by metal—First Sergeant Tak Fujimori, Starshina Irina Ulyanova, and me, Master Sergeant Michael Venn, are in this Oscar. The second carries Commander Frances Borden, Corporal Dan Johnson—DJ—Sergeant Kiyuko Ishikawa, Polkovnik Litvinov (I’ve never learned his first name), and our mysterious Wait Staff reps, the former servants and right-hand men of the Gurus, Aram Kumar and Krishna Mushran. The rest of the Russians occupy the last three.

  On my recommendation—and on threat of ice torpedoes closing in from all sides—we’ve stopped trying to defend ourselves and have surrendered to the birdlike creatures we’ve fought for years on Mars and elsewhere. We call them Antagonists, Ants or Antags for short.

  Starshina Ulyanova frantically resisted that surrender and had to be subdued by Tak and Jacobi. She lies quiet now in her sling behind Jacobi. Her rank is roughly equal to DJ’s, corporal, but edging over into sergeant. She’s still having a rough time. Her cheeks and forehead are beaded with sweat, and she stares into the upper shadows of the cabin, lips pressed tight. Her instinct is to continue the fight, even if it means self-destruction—either resisting the Antags, who are presumably here to save us, or trying to destroy our own people. I don’t really blame her. She’s surrounded by leaders and soldiers who haven’t had time to explain the fundamentals we’re all facing. Besides, we don’t speak Russian, and her English is rudimentary.

  Even so, there’s something odd about her, as if she’s listening to voices none of the rest can hear—except me. Why do I think that’s possible? That she’s being subjected to an experience similar to my own, maybe to DJ’s …

  Maybe not so much to DJ. Maybe just to me.

  No evidence for any of these hunches, really, but that by itself doesn’t mean she’s crazy. Hearing voices is why I was returned to Mars, then hustled out with DJ to Titan.

  On Mars, inside the first Drifter, DJ and Kazak and I all got dosed with a powder produced by deep-buried fragments of ancient crystal brought to Mars billions of years before on pieces of exploded ice moon. We called the powder Ice Moon Tea, and my sensitivity to its messages was what convinced Commander Borden to rescue me from Madigan Hospital, where I was scheduled for execution. I’m one of the special ones. Glory be. So is DJ. Kazak—Sergeant Temur Nabiyev, our favorite Mongolian—was also one of the special ones, but he died on Mars before I returned.

  In our heads, ancient history bumps up against the captured and stored memories of fallen comrades. Sometimes it’s like dancing on a cloud—impossible, but if you don’t believe, you fall.

  I can’t shake the strangely lovely image of Captain Coyle settling into her peculiar death. On Mars, when she tried to blow up the first Drifter, under orders from the Gurus on Earth, she and her teammates turned into shiny black glass. We thought those who turned glass were dead. But s
ome came back to haunt us. Absorbing and co-opting enemies is one way the ancient archives preserve themselves. That’s what the Drifter’s crystals contained—a gateway to records kept billions of years ago by our earliest progenitors—inhabitants of the outer ice moons of the ancient solar system.

  Giant, intelligent bugs.

  Coyle first came to visit me after I returned to Earth and was locked up at Madigan. In those early hours, her presence was confused, less an actual voice and more like word balloons in a comic—empty word balloons. But soon enough they filled in, and what was left of Coyle did her brusque best to take me step by step through the courtesies and techniques of the bug archives. She introduced me to the semiautomated steward who parcels out that memory, if you’re qualified, if you know how to ask the right sort of questions.

  The bugs are long gone, but their voices still echo. At Madigan, and on the way back to Mars, I relived bits and pieces of bug history, watched those ancient ancestors of both humans and Antags burrow up through the icy shells of their moons and discover the stars. Life had first evolved on those moons, long before Earth turned green, in deep oceans warmed by residual radiation and the constant tug of tidal energy from their gas-giant planets. I learned that this wasn’t the first time creatures like the Gurus had entered our solar system and provoked wars. I learned that the bugs had fought one another long, long ago—class against class, changing the shape and disposition of the outer solar system.

  Dropping big chunks of moon down to Mars, including the Drifters.

  Helping seed life on Earth.

  Then Coyle warned me that she was about to really die. Her final act was to introduce me to the Antag female who’s now my direct liaison, who’s waiting across the midnight ocean to save us from our own forces.

  Coyle’s voice went silent and all that was left of her, the absorbed data of her life and her body, spread out before my inner eye like a beautiful crystal tapestry. The captain was no longer capable of talking, acting, or learning, but she was still full of instruction.

  How like Coyle.

  YOU CAN GO IN NOW, BUT PLEASE DON’T

  My grandfather was a colonel in the Rangers. My grandmother was a fine Army wife and very smart. One of the things she taught me is that God can do anything except change a man’s mind. “That’s why there are wars,” she said, and knew the subject well. In two wars she had lost a husband, two sons, and a daughter, leaving her with just my mother, who was thirty when her sister died. “Men are so goddamned stubborn they will insult, curse, and shout until they can’t back down, and then decide it’s time to send our children out to die. The fellows who order up wars almost never go themselves, they’re too old. But they’re still cowards. If you’re a leader and you screw up a war, or maybe if you just start a war, you should blow your brains out right in front of all the Gold Star mothers, sitting on bleachers in their Sunday best—and that’s what I say, but don’t quote me, okay? This kind of talk upsets your mother.”

  Until I was eight and my mother and father divorced, we lived on or around military bases. I bounced through five or six concrete blockhouse schools and hated every minute of it. My mother believed in the goodness of the human race. As if in spite, the human race tried with all its might to prove her wrong. After her divorce, she jonesed for handsome, crazy men and usually ended up with cashiered ex-Army or bank robbers. I thought I had to protect her. Or at least I remember thinking that; maybe it just turned out that way. None of that stopped me from enlisting to become a Skyrine, but now it haunts me.

  FISH MARKET DREAMS

  In the front slings of our Oscar, Joe and Jacobi try to maintain communication.

  “Minnows are quiet,” Jacobi says. “Maybe they’re being jammed.”

  All the rest of us can do for now is listen to the sounds gathered by the far-flung sensors, clear and sharp and mysterious in the deep cold, and wait for the Antags to make up their minds. We’re mostly silent, lying slack in our harnesses like aging beef.

  Our minnows, silvery drones the size of fingers, act like cat whiskers. They flow smoothly back and forth between us and the Antags, tracking their ships behind the great, dark ridges of the old Titanian archives.

  The hovering flocks of Antag ice torpedoes haven’t moved in. We still have hope, I guess. But we’ve surrendered. What does it matter?

  When we abandoned the station, other ships were entering Titan’s orbit—human-crewed ships. One of them was the big Box, newer and far more heavily armed than the Spook that brought us here. On our way out to Saturn, leaving Mars’s orbit, the Spook managed to count a little coup against Box, trimming some of its sectional field lines before it was fully prepared—but that won’t happen again.

  I wonder what Mushran and Kumar are thinking. They arranged for all this, and for years benefited from their connections with the Gurus. I suppose knowing is better than ignorance, but we’re still screwed. As wars go, this one is a complete fraud. But then, aren’t most? Killers of the brave, the loyal, the committed—killers of our best.

  Somehow, I don’t believe that describes me. I’m not one of the best. Joe, maybe, or Tak or Kazak. Not being one of the best may mean I’ll live. But that’s bullshit. Wars don’t discriminate. Wars are blind and violent and nasty, lacking all morality. If they last long enough, they’ll do their best to destroy all hopes and dreams.

  Wars try to kill everybody.

  But until now, they’ve never actually succeeded.

  What’s become very obvious is that the cavalry descending behind us in Titan’s cold sea, other machines carrying other humans, is no longer our friend. It may not know it, but it’s chasing us down in order to cut off human access to bug history—the archives on Titan and maybe elsewhere in our system. Our joint sponsors, the Gurus, do not want any of us, human or Antag, to learn about our bug origins or the ancient wars the Gurus encouraged. If we’re killed here on Titan, and if Titan is finally destroyed, this cancer won’t spread.

  Our duty now is to survive, even if we have to join up with our enemies.

  COLD TRENCHES

  Something’s changing overhead. We hear the echoing, drawn-out groans of deep pack ice, like an idiot playing a pipe organ in an empty cathedral. This profoundly scary and stupid noise is punctuated by the softly ratcheting clicks of Antag machines keeping station out in the darkness. Why don’t they just suck us up? They’re hiding in the cells and cubicles of the ancient archive—what I’m starting to call Bug Karnak because for some reason it reminds me of ancient temples in Egypt. Bug Karnak, after billions of years, is still transmitting bug history to those who react to Ice Moon Tea. I could tune in if I want, but it’s much clearer if I coordinate with my liaison, and she seems to be distracted. Maybe she’s waiting for her fellows to make up their minds about our usefulness—thumbs up or thumbs down. Do they have thumbs? Maybe the Antags think we’re decoys. Maybe this sort of thing has happened to them before—recently. Deception and betrayal. They’re being extra cautious.

  I wonder if she has a hard time hearing me, too. Yeah, we’re related, but that’s hardly a guarantee of compatibility. To add to the suspense, our replacement pressure suits continue to work us over, slicing through flesh and bone with wires and blades to integrate and control—presumably to make us quicker and more responsive.

  What was left of the ice station is probably gone. After our seeds were done shitting out Oscars, and while we were leaving, more seeds must have dropped from Box and finished the job. Seeds save a lot of weight when transporting weapons upsun to places where raw materials are abundant—places like Titan, covered in methane, ethane, and silenes, and spotted with deposits of naturally generated waxes and oils and plastics. But even with an abundance of raw materials, when time is short, efficiency rules. The station was preprocessed. The seeds from Box likely dug in like hungry mastiffs. I wonder what happened to the corpses. Maybe they’re now part of brand-new weapons. How is it possible to stay human in all this? Facing these examples of a fucking he
llish ingenuity?

  “Antag movement up front,” Jacobi says.

  There’s Russian chatter from the third and fourth vessels—unhappy, strident. Litvinov opens up to his troops in the dissident transports. “We do not act!” he shouts in Russian, then in English. “We are here. We have no more decisions to make. If we return, our people will kill us.”

  I watch Jacobi’s crescent-lit face, just visible around the rim of her helm, then expand my gaze over to Joe, slung beside her. Our suits creak in the slings. Six of us. How many Russians were crammed into the last two Oscars? Not full complements. Not six, maybe only three, not enough to form true teams, share the stress, subdue panic. Since we didn’t fight together and didn’t have long to socialize, they never made much of an impression, except for Litvinov, of course, and those who died out on the Red … and Ulyanova, softly singing to herself opposite.

  Long moments pass. On the second Oscar, Borden reports scattered soft targets—organic. “Looks like a shoal of big fish,” she says. “Native?”

  No one confirms. No one can answer one way or the other. We close our plates to access displays and pay attention to the forces directly in front. I don’t see the soft targets or anything that answers to what she means by organic—squishy and alive—but more machines rise into view, twelve of them, longer and thicker than Oscars, escorted by scouts like nothing we’ve seen before—robot falcons flexing ten-meter serrated wings, slung with bolt weapons and pods filled with cutting tools. Butcher-birds, I think.

  “Oscar’s about to be cracked like a lobster,” DJ says from Litvinov’s ship.

  “Shut the fuck up!” Ishida says, half shell herself.

  The fourth vessel’s debate has turned to what sounds like fighting. The fifth joins in. The Russians are falling apart. Litvinov’s not with them. His influence isn’t nearly enough.

  It’s painful to listen to.

  Ulyanova, under her breath, still sings. But then she opens her eyes and looks right at me.