Rule 34 - Charles Stross [111]
And so you arrived in Phoenix in the company of grandparents 2.0. And you were duly appreciative of this third chance at a stable family life that fate had handed you, and you resolved not to break it by accident.
It is now late morning, the day after. You’re still waiting for the fucktards at head office to get you an appointment with the mad professor, and there’s no point bugging the Hussein mark while he’s at work. So it looks like you have a few hours off. Might as well go tour the city centre, hit a cafe, have a latte, sketch out your plan for world domination. Stalking-horse, of course, but if it suckers the enemy in, who cares?
The weather’s good as you walk along Princes Street; shame about all the shuttered shop-fronts and the builders everywhere, stripping away the mother-of-pearl accretions of architectural history to reveal the Georgian skeleton of the road. With most of the surviving shop chains moving to out-of-city retail parks—those that haven’t succumbed to online stores and custom fabrications—the once-vibrant commercial high street is being flensed of commerce and turned back into an aspic-preserved tourist draw, a false-colour reconstruction of its late-eighteenth-century youth.
That’s all it’s good for, of course: If it was up to you, you’d bulldoze the lot of it, stick in a link road between the M8 and the A1(M), and a shopping mall featuring a thirty-metre-high pink marble statue of yours truly buggering a lizard. But these effete pseudo-Brits have never been too clear on the importance of thinking big, or the grand gesture for that matter. There’s that bloody stone-spike memorial to a writer, of all things—and the statues of philosophers! What the fuck is all that about?
You people-watch as you walk, ever alert for the alien menace. A police drone buzzes dismally above the high-speed rail terminal below the castle; closer to home, an arsehole in a kilt makes cat-strangling noises with the aid of a sack of pipes, squawking every time he changes note. These are street performers, constructing the dialectic of urban civilization—the watcher and the self-consciously watched. Here’s a human robot in silver spray paint and make-up, twitching to archaic German synthrock. There’s a white-faced girl in a pouffed-up wedding dress standing on a plinth, pretending to be a statue because if you can’t dance and can’t sing, what fucking use are you? If they had any kind of audience, you’d be tempted to practice the lightfinger tricks you taught yourself at high school, but alas, the crowd’s not thick enough—and anyway, you’ve got bigger targets in mind than a careless tourist’s wallet.
You stick to the shuttered shops on the built-up side of the street, keeping to the far side of the tram tracks from the gardens—too many bushes, hiding-places for the enemy abduction machines. The battlements of the castle loom blindly above the seething insectile urban hive, the sash-windows and solar-powered street-lamps, the slippery slate roofs and the sandstone bricks of the eighteenth-century town houses creeping back into view as the ants scurry and chop away at the retail-age encrustation.
You’ve come a long way from Phoenix, from the dying suburbs and the empty houses, gouged-out windows staring like eye-sockets across the Astroturf lawns the despairing Realtors laid before them: well-dressed corpses awaiting resurrection, secure in their faith in cheap gas and a Horatio Alger-esque resurgence in global competitiveness.
You didn’t realize at first that Jane and Frank were rescuing you for a castaway adolescence in a city where the price of housing had crashed 70 per cent