The Echo. James Smythe
Tobi looks at her with her one bloody eye, and she pulls a face: resilient and powerful. I cling on for what feels like minutes, and then wonder if I can’t move on.
This is a mission. It has always been clear to us, to Tomas and myself, that it is, and that it should be treated with the utmost seriousness. It may not be glorious, not yet, but there has never been an actual mission to space. Before this, everything was simply to see if we could do it. It was a desire, a proving of ourselves as a collective people. Breaking Earth’s atmosphere? We can reach it. The moon? We can land on it. It was showing off, puffing out our chests, planting flags. This time, there is a reason to be here. The Ishiguro was the most selfish, vainglorious expedition. Dr Singer’s research was only an afterthought, a bonus thing that he could do while they were up there. It didn’t matter, because what mattered was how shiny the crew were, how beautiful, how unstable.
We have a task, and it’s hugely important. I look at the results of the anomaly while we are up here, and I think that we do not know what this is: that it is so far beyond our comprehension that this discovery, this mission, it could change everything. It could be the thing that realizes our position in the universe. People search their entire lives for an answer, and maybe this is it: maybe this anomaly might give us a clue as to our beginnings. It will not be showy, and it will not be glorious, but it might be an answer.
A scientist wants nothing more.
We spend the day running tests. One of the things that we can do, as we get closer to the anomaly, is to discover its span: to see how wide it is, what expanse of space it actually covers. We have measured it from Earth, of course, plotting the space that it doesn’t fill, but from here we can be exact. Accuracy is easier up close. Wallace and Lennox and myself establish the equipment and run the software. The ship will do everything once the programs start running. We have scanners on here, deep-range systems that will be able to search further than anyone has ever searched. It’s a grab bag, a huge potluck of whether you get anything useful or not. When the software is running, Wallace shows myself and Lennox how it works, even though I already know. I helped design it. There is a room dedicated to my work: the lab, I called it in the early days of development. A room off the corridor, opposite the changing rooms and the airlock, and small, but enough space for the screens that I will need. Above all it is somewhere quiet for me to work. When the software is running, both Wallace and Lennox go to get some sleep. I stay here alone and attach myself to the bench in front of the console. I bring up the screens: 3D visualizations of the results from the pings being sent out, a map of the area of space we’re charting being drawn and constructed in real-time, and I’m able to zoom and pan and focus and highlight it as much as I like. I see the outline of the anomaly starting to be drawn: a patch of nothingness amongst the stars in the distance, surrounded by space. I spin the scene with my fingers, look at it from every angle, and I call Tomas.
‘This is incredible,’ I say to him.
‘I know,’ he says. He has an exact replica of my screens on Earth, showing him real-time – or as close to real-time as the lag will allow – what I am looking at.
‘Did you know about Tobi?’ I ask.
‘Yes,’ he says. ‘It wasn’t important, I didn’t think. It was a long time ago. We certainly didn’t expect it again.’
‘I would have thought it enough to not let her up here.’ I can trace each ping from here, and watch them: little orange dotted lines, pushing out like digital ticker-tape. They disappear, and another part of the anomaly is confirmed: an area of space that we cannot see, that barely exists. ‘But you made the call.’
‘Yes,’ he says. ‘She was the best person for the job. I don’t mind there being something wrong with you if you’re the best person for that particular job. I honestly never thought that it would be a problem, Mira.’ He is silent. I imagine him leaning over his computer, bent towards the screen, examining the visualization of this. Watching the pings that I watched fifteen seconds before, as the data reaches him. ‘You’ll have to deal with it.’
‘It’s fine,’ I say. ‘Is there anything else I need to know about any of the others?’
‘Nothing,’ he says. ‘Would it matter if there was?’
‘What if she had died?’ I ask. An orange line flies past the anomaly and carries on into the distance: traced away, so small that I will never see it. The result of what it finds will return to us when it does: eventually it will stop. Maybe it will stop so far away that we will no longer even be receiving data when it sends itself back. That we, humanity, will no longer even be alive.
‘Well, she didn’t,’ Tomas says. ‘She is fine. Bruised and embarrassed, but she’s fine.’
‘Okay,’ I say. I spin the anomaly again. We have no way of knowing how deep it is, because we have to imagine that it is a wall, and there is no way of seeing what’s behind it. ‘Does it scare you?’ I ask. ‘This anomaly? Whatever it is.’ I wait for a reply, but one doesn’t come. ‘Are you there?’ I ask, but nobody answers, not even Simpson; which means that Tomas is still sitting at his desk, still at the computer, but he’s simply choosing to stay quiet.
I stay and watch the lines. This is such a process: like tracing the outline of a planet with the ends of strings of thread. Tomas and I wrote an algorithm to plot the pinging of this thing. The intention was, it would find likely areas and match them, following lines and trying to extrapolate the size of it that much faster. There is a game you play when you are children, Battleship: you pick a place that your opponent might have placed their ship, a number on a grid that you cannot see, and you hope that you will somehow pick the right space. If you do, you extrapolate the rest of the ship based on that: moving up or down or left or right, assuming the likely choice that they have made, hoping for another hit and to sink their ship. We played it a lot, Tomas and I. It was the perfect way for us to test how much we thought alike: how much we had to work to outfox the other. I imagine him, watching these with me, or slightly delayed; or maybe not. Maybe gone from the lab, finally heading home to his baker, to spend time with her. Forgetting about me, about this, about us, for an evening. Thinking of this as work, not what it actually is.
I switch the screens off. I don’t need to watch this. If he is still with me, so be it. I detach myself and push off, and I struggle at the ceiling, but then I push myself through to the corridor, and then down to the living quarters. The ship is quiet. Four of the bed lids are down and darkened, and only Tobi is still awake. I drag myself through, trying to make as little noise as possible, and she turns her head to watch me gracelessly approach. I settle in the seat next to her and clip myself in. She yawns and nods at me. I feel secure for a second. It’s nice, after the chaos of floating, to have this security. She is confident, and taking back control.
‘How long do you reckon we’ve been up here now?’ she asks. She puts her hand over the clock on the screen and looks at me. ‘No cheating, take a guess,’ she says.
‘What?’
‘See if you can guess. I couldn’t. I can’t tell if it’s only been a day, or if it’s longer. Everything becomes loose here, you know? Without the sunrise, without the sunset. Without defined bedtimes. And I feel tired all the time, whatever I’m doing. And that’s not my eye or whatever. Even just sitting here, that feels tiring.’ She turns back and looks at the screen, focusing on the expanse of nothing that’s in front of us. The view that offers precious little sensation that we’re even moving, so large is space and so small are we. She reveals the clock.
‘We should try to think of it in terms of hours here, hour to hour, rather than concentrating on the days. Back home, that’s where they need days,’ I say to her.
‘Yeah, maybe. Maybe.’ She yawns again. ‘But everything is looser. Time, speed, place. Everything. If you focus on a star you can see it move, if you stare at it. Or, you know, you can see us moving.’ I do as she says. I pick one – Algol, in Perseus – and I stare at it. I plot where it is in relation to the rest, and to the console and the frame of the window, and then I keep staring. Over time, and I have no idea how long that time is, it shifts, or we do. Such an infinitesimally small amount,