James Gardner - Shadow Album

In the deserted city at the heart of Mutas Great Fog Bank, there is a sundial. Its face is marble, once polished, now rough and pitted with age. The metal of the central gnomon flakes with rust; it has bled a dull brown stain across the dials gritty white face.

The sundial no longer tells the timethe perpetual fog smears Mutas hot blue sunlight into a diffuse gray that casts no shadows, even at midday.

I visit the sundial often; the sight of it calms me when the loneliness grows too strong. I find it comforting to think even a sundial can stop. It seems to be a promise that no responsibility lasts forever.

Once, this city was home to a million beings. Green plants grew, animals basked at midday, the Mutan people cast shadows and shaded their eyes from the afternoon sun. Now, the only flora are lichens and fungus, and the only animals small scavengers that dart in and out of nests under the crumbled buildings. As for the Mutans, they cast their last shadows long ago.

I carry a camera with me wherever I go, and it is full of shadows. Some are recentphotographs Ive taken to pass the time, to pretend that Ive chanced upon beauty or importance in a rusted tangle of metal, an oddly shaped mushroom. The recent photos occupy the reusable slots on the cameras recording diskette, shadows I discard as new ones catch my eye. But there is a set of pictures I have tagged to prevent overwriting, shadows cast before the last light left me. Now, as night falls and the ghosts struggle to wake themselves from their collective sleep, I put the diskette into the viewer in my hut and click through my little album.

Picture 1Exploration Team Harmony on the Plains of Expanding Accord:

Twenty-two men and women stand in the center of a burnt field, the grass charred black by the heat of a Vac/ships landing. The ship is gone now, back to the orbiting task force where a million colonists wait in suspended animation until Harmony Team certifies the planet safe. Our mission is considered a formalitysatellites and robot probes have given Muta such a positive rating that supply caches have already been dropped at selected sites all over the planet. Even so, final approval for colonization rests entirely with our team and its superiors. We do not place blind trust in machines; it is a doctrine of our faith.

By the time this picture was taken, all that remained to be explored was the anomalous fog bank perpetually covering a region of Mutas southern hemisphere: cause unknown, unchanged by wind and sun, impenetrable to orbital eyes. We thought our investigation would be routine and painless.

The team members offer smiles for the camera, showing or not showing their teeth according to their chosen self-image. Most try not to squint, though the sun is in their eyes; they want to look good for the photograph.

Behind them is the skimmer assigned to fly the team to the Great Fog Bank. On the crafts fuselage, brown letters proclaim Unity Task Force: Muta. Beneath the words are the twenty-two symbols of our totem houses, the spirits that unite our people and set us apart from other human cultures in this galactic sector. The symbols attest that the world is more than a machine, and humans more than a meaty collection of chemicals. We of the Unity are a spiritual people.

Each symbol on the fuselage is carefully labeled: the Dancing Madman, the Ready Mage, the Blind Priestess, and so on. The Unity is relentless in labeling everything.

In the far background, beyond the landing strip, you can see the grassland that the Unity named the Plains of Expanding Accord. Amidst the thick band of green there is a single dab of brownsome inquisitive Mutan herd animal peering at all the curious activity happening around the base.

At first glance, the people posed in this picture may be indistinguishable. They are all uniformed in the same tan fatigues. They all look healthy and competent. But to my eyes, three people stand out from rest. They stand together on the extreme right of the picture: a woman between two men.

The woman is Chiala, Archeology Officer, age 25. In the picture, her skin is the same glossy color as a chestnut fresh from its shell; but I remember it as dark honey, and I dream of the soft brown of her hand resting lightly on my forearm. Her smile is wide and bright. Around her throat she wears a neckerchief, white linen printed with a pattern of orange flowers. The flowers are chrysanthemums, totem flowers of my birthmonth. I nearly told her so when I helped her choose the neckerchief on our last recreation leave, but I decided to hold my tongue. It pleased me to have this secret link to her that even she did not realize.

The man on her right is Planetology Officer MolanDif, the same age as Chiala. In the hand dangling at his side, he holds the Unity regulation manual for missions exploring Earth-like environments. Harmony Team had completed three such assignments at the time the picture was taken, but MolanDif still consulted the manual regularlynot because he wanted to enforce the rules on his juniors but rather because he wanted to be sure of the rules himself. He was a man in constant need of specific instructions, of models to imitate. (His shirt is open low enough to reveal the steaming snout of a dragon tattooed on his chest. He once confessed to me he got that tattoo when he was a teenager; he had read somewhere that teenagers were supposed to do irrevocable things on impulse.)

The graying man on Chialas left is Senior Orthodoxy Officer BarlDan, age 49. Me. My smile is self-conscious and clumsythe skimmer pilot who took the picture for me ordered us to crowd together, and I was keenly aware of the solid warmth of Chialas body pressing against my arm. (After the picture was taken, she did not move away from the contact. I was the one who withdrew to attend my duties.)

At one time, I could have named all the others in this picture. I still remember names, remember facesbut I become confused when I try to pair them. It panics me sometimes, the thought that I was supposed to safeguard all these souls, but now cant remember which man was the ceremonial castrato, which woman wore the mask of the Riven Tower. I think I know, yet I suspect Im mistaken, that my memory rearranges itself when I sleep. I wake sometimes to find myself shouting at people who flee from me in my dreams.

The only other face Im sure of is Junior Planetologist DiDeel, a young red-headed man grinning widely into the camera, his arm around the shoulder of the man beside him; and the only reason DiDeel retains a foothold in my mind is because he was the first to die. The othersdead too, officers, juniors, all dead, murdered in the fog, but I am losing them day by day and I cannot keep them with me.

In the extreme foreground of the picture, we have lined up our spirit masks. The masks are dormant, their inhabiting spirits forced into temporary exile by the brilliant sunlight. Their eyeholes are empty; they are merely constructions of paper and plastic, feather and foil.

Given a choice, I would have preferred not to take photographs of the masks; but some of the spirits were vain and demanded I take pictures of their mask-houses as often as possible. I complied, as I always complied with wishes of the masks. You cannot reason with a spirit.

Picture 2Chiala examining a Mutan statue:

In the Mutan city within the fog, Chiala kneels at the base of a marble statue. She has arranged weak laser projectors to throw up a yellowy grid-work of cubes around the statue, each cube ten centimeters to the side. The statue is thus boxed into a phantom coordinate system that helps her make measurements.

The statue resembles others found all across the planet: a man-high figure that might be a lump of bread dough, surrounded by a surface that bristles with quills like those of a porcupine. The quills appear to be protrusions of internal bones, forming a type of articulated exoskeleton. The top of the body is clearly a head, with two widely spaced eyes, a cluster of nose-holes shielded by a thatch of quills, and a fully toothed mouth. No ears are visible.