I met the others at the Sugar Shack, where Denver was trying to talk Trigger into taking Tuesday along with us. Tuesday is the hippopotamus that lives on the bayou, in cheerful defiance of any sense of authenticity. Denver had her on a chain and she stood placidly watching us, blinking her piggy little eyes.
Denver was tickled at the idea of going to Mardi Gras with a hippo named Tuesday, but Trigger pointed out that the museum officials would never let us into New Orleans with the beast. Denver finally conceded, and shooed her back into the swamp. The four of us went down the road and out of the bayou, boarded the central slidewalk, and soon arrived in the city center.
There are twenty-five theaters in the CHM. Usually about half of them are operating while the others are being prepared for a showing. Mardi Gras '56 is a ten-year-old show, and generally opens twice a year for a two week run. It's one of the more popular environments.
We went to the orientation room and listened to the lecture on how to behave, then were given our costumes. That's the part I like the least. Up until about the beginning of the twenty-first century, clothing was designed with two main purposes in mind: modesty, and torture. If it didn't hurt, it needed redesigning. It's no wonder they killed each other all the time. Anybody would, with high gravity and hard shoes mutilating their feet.
"We'll be beatniks," Trigger said, looking over the racks of period clothing. "They were more informal, and it's accurate enough to get by. There were beatniks in the French Quarter."
Informality was fine with us. The girls didn't need bras, and we could choose between leather sandals or canvas sneakers for our feet. I can't say I cared much for something called Levis, though. They were scratchy, and pinched my balls. But after visiting Victorian England—I had been female at the time, and what those people made girls wear would shock most Lunarians silly—anything was an improvement.
Entry to the holotorium was through the restrooms at the back of a nightclub that fronted on Bourbon Street. Boys to the left, girls to the right. I think they did that to impress you right away that you were going back into the past, when people did things in strange ways. There was a third restroom, actually, but it was only a false door with the word "colored" on it. It was impossible to sort that out anymore.
I like the music of 1956 New Orleans. There are many varieties, all sounding similar for modern ears with their simple rhythms and blends of wind, string, and percussion. The generic term is jazz, and the particular kind of jazz that afternoon in the tiny, smoke-filled basement was called dixieland. It's dominated by two instruments called a clarinet and a trumpet, each improvising a simple melody while the rest of the band makes as much racket as it can.
We had a brief difference of opinion. Cathay and Trigger wanted me and Denver to stay with them, presumably so they could use any opportunity to show off their superior knowledge— translation: "educate" us. After all, they were teachers. Denver didn't seem to mind, but I wanted to be alone.
I solved the problem by walking out onto the street, reasoning that they could follow me if they wished. They didn't, and I was free to explore on my own.
Going to a holotorium show isn't like the sensies, where you sit in a chair and the action comes to you. And it's not like a disneyland, where everything is real and you just poke around. You have to be careful not to ruin the illusion.
The majority of the set, most of the props, and all of the actors are holograms. Any real people you meet are costumed visitors, like yourself. What they did in the case of New Orleans was to lay out a grid of streets and surface them as they had actually been. Then they put up two-meter walls where the buildings would be, and concealed them behind holos of old buildings. A few of the doors in these buildings were real, and if you went in you would find the interiors authentic down to the last detail. Most just concealed empty blocks.
You don't go there to play childish tricks with holos, that's contrary to the whole spirit of the place. You find yourself being careful not to shatter the illusion. You don't talk to people unless you're sure they're real, and you don't touch things until you've studied them carefully. No holo can stand up to a close scrutiny, so you can separate the real from the illusion if you try.
The stage was a large one. They had reproduced the French Quarter—or Vieux Carre—from the Mississippi River to Rampart Street, and from Canal Street to a point about six blocks east. Standing on Canal and looking across, the city seemed to teem with life for many kilometers in the distance, though I knew there was a wall right down the yellow line in the middle.
New Orleans '56 begins at noon on Shrove Tuesday and carries on far into the night. We had arrived in late afternoon, with the sun starting to cast long shadows over the endless parades. I wanted to see the place before it got dark.
I went down Canal for a few blocks, looking into the "windows." There was an old flat movie theater with a marquee announcing From Here to Eternity, winner of something called an Oscar. I saw that it was a real place and thought about going in, but I'm afraid those old 2-D movies leave me flat, no matter how good Trigger says they are.
So instead I walked the streets, observing, thinking about writing a story set in old New Orleans.
That's why I hadn't wanted to stay and listen to the music with the others. Music is not something you can really put into a story, beyond a bare description of what it sounds like, who is playing it, and where it is being heard. In the same way, going to the flat movie would not have been very productive.
But the streets, the streets! There was something to study.
The pattern was the same as old London, but all the details had changed. The roads were filled with horseless carriages, great square metal boxes that must have been the most inefficient means of transport ever devised. Nothing was truly straight, nor very clean. To walk the streets was to risk broken toes or cuts on the soles of the feet. No wonder they wore thick shoes.
I knew what the red and green lights were for, and the lines painted on the road. But what about the rows of timing devices on each side of the street? What was the red metal object that a dog was urinating on? What did the honking of the car horns signify? Why were wires suspended overhead on wooden poles? I ignored the Mardi Gras festivities and spent a pleasant hour looking for the answers to these and many other questions.
What a challenge to write of this time, to make the story a slice of life, where these outlandish things seemed normal and reasonable. I visualized one of the inhabitants of New Orleans transplanted to Archimedes, and tried to picture her confusion.
Then I saw Trilby, and forgot about New Orleans.
She was behind the wheel of a 1955 Ford station wagon. I know this because when she motioned for me to join her, slid over on the seat, and let me drive, there was a gold plaque on the bulkhead just below the forward viewport.
"How do you run this thing?" I asked, flustered and trying not to show it. Something was wrong. Maybe I'd known it all along, and was only now admitting it.
"You press that pedal to go, and that one to stop. But mostly it controls itself." The car proved her right by accelerating into the stream of holographic traffic. I put my hands on the wheel, found that I could guide the car within limits. As long as I wasn't going to hit anything it let me be the boss.
"What brings you here?" I asked, trying for a light voice.
"I went by your home," she said. "Your mother told me where you were."
"I don't recall telling you where I live."
She shrugged, not seeming too happy. "It's not hard to find out."
"I... I mean, you didn't..." I wasn't sure if I wanted to say it, but decided I'd better go on. "We didn't meet by accident, did we?"
"No."
"And you're my new teacher."
She sighed. "That's an oversimplification. I want to be one of your new teachers. Cathay recommended me to your mother, and when I talked to her, she was interested. I was just going to get a look at you on the train, but when I saw you looking at me... well, I thought I'd give you something to remember me by."
"Thanks."
She looked away. "Darcy told me today that it might have been a mistake. I guess I judged you wrong."
"It's nice to hear that you can make a mistake."
"I guess I don't understand."
"I don't like to feel predictable. I don't like to be toyed with. Maybe it hurts my dignity. Maybe I get enough of that from Trigger and Cathay. All the lessons."
"I see it now," she sighed. "It's a common enough reaction, in bright children, they—"
"Don't say that."
"I'm sorry, but I must. There's no use hiding from you that my business is to know people, and especially children. That means the phases they go through, including the phase when they like to imagine they don't go through phases. I didn't recognize it in you, so I made a mistake."
I sighed. "What does it matter, anyway? Darcy likes you. That means you'll be my new teacher, doesn't it?"
"It does not. Not with me, anyway. I'm one of the first big choices you get to make with no adult interference."
"I don't get it."
"That's because you've never been interested enough to find out what's ahead of you in your education. At the risk of offending you again, I'll say it's a common response in people your age. You're only a month from graduating away from Cathay, ready to start more goal-oriented aspects of learning, and you haven't bothered to find what that will entail. Did you ever stop to think what's between you and becoming a writer?"
"I'm a writer, already," I said, getting angry for the first time. Before that, I'd been feeling hurt more than anything. "I can use the language, and I watch people. Maybe I don't have much experience yet, but I'll get it with or without you. I don't even have to have teachers at all anymore. At least I know that much."
"You're right, of course. But you've known your mother intended to pay for your advanced education. Didn't you ever wonder what it would be like?"
"Why should I? Did you ever think that I'm not interested because it just doesn't seem important? I mean, who's asked me what I felt about any of this up to now? What kind of stake do I have in it? Everyone seems to know what's best for me. Why should I be consulted?"