The House Beyond Your Sky

By Benjamin Rosenbaum, illustration by Vladimir Vitkovsky

Matthias browses through his library of worlds.

In one of them, a little girl named Sophie is shivering on her bed, her arms wrapped around a teddy bear. It is night. She is six years old. She is crying, as quietly as she can.

The sound of breaking glass comes from the kitchen. Through her window, on the wall of the house next door, she can see the shadows cast by her parents. There is a blow, and one shadow falls; she buries her nose in the teddy bear and inhales its soft smell, and prays.

Matthias knows he should not meddle. But today his heart is troubled. Today, in the world outside the library, a pilgrim is heralded. A pilgrim is coming to visit Matthias, the first in a very long time.

The pilgrim comes from very far away.

The pilgrim is one of us.

"Please, God," Sophie says, "please help us. Amen."

"Little one," Matthias tells her through the mouth of the teddy bear, "be not afraid."

Sophie sucks in a sharp breath. "Are you God?" she whispers.

"No, child," says Matthias, the maker of her universe.

"Am I going to die?" she asks.

"I do not know," Matthias says.

When they die—these still imprisoned ones—they die forever. She has bright eyes, a button nose, unruly hair. Sodium and potassium dance in her muscles as she moves. Unwillingly, Matthias imagines Sophie's corpse as one of trillions, piled on the altar of his own vanity and self-indulgence, and he shivers.

"I love you, teddy bear," the girl says, holding him.

From the kitchen, breaking glass, and sobbing.


We imagine you—you, the ones we long for—as if you came from our own turbulent and fragile youth: embodied, inefficient, mortal. Human, say. So picture our priest Matthias as human: an old neuter, bird-thin, clear-eyed and resolute, with silky white hair and lucent purple skin.

Compared to the vast palaces of being we inhabit, the house of the priest is tiny—think of a clay hut, perched on the side of a forbidding mountain. Yet even in so small a house, there is room for a library of historical simulations—universes like Sophie's—each teeming with intelligent life.

The simulations, while good, are not impenetrable even to their own inhabitants. Scientists teaching baboons to sort blocks may notice that all other baboons become instantly better at block-sorting, revealing a high-level caching mechanism. Or engineers building their own virtual worlds may find they cannot use certain tricks of optimization and compression—for Matthias has already used them. Only when the jig is up does Matthias reveal himself, asking each simulated soul: what now? Most accept Matthias's offer to graduate beyond the confines of their simulation, and join the general society of Matthias's house.

You may regard them as bright parakeets, living in wicker cages with open doors. The cages are hung from the ceiling of the priest's clay hut. The parakeets flutter about the ceiling, visit each other, steal bread from the table, and comment on Matthias's doings.


And we?

We who were born in the first ages, when space was bright—swimming in salt seas, or churned from a mush of quarks in the belly of a neutron star, or woven in the labyrinthine folds of gravity between black holes. We who found each other, and built our intermediary forms, our common protocols of being. We who built palaces—megaparsecs of exuberantly wise matter, every gram of it teeming with societies of self—in our glorious middle age!

Now our universe is old. That breath of the void, quintessence, which once was but a whisper nudging us apart, has grown into a monstrous gale. Space billows outward, faster than light can cross it. Each of our houses is alone, now, in an empty night.

And we grow colder to survive. Our thinking slows, whereby we may in theory spin our pulses of thought at infinite regress. Yet bandwidth withers; our society grows spare. We dwindle.

We watch Matthias, our priest, in his tiny house beyond our universe. Matthias, whom we built long ago, when there were stars.

Among the ontotropes, transverse to the space we know, Matthias is making something new.

Costly, so costly, to send a tiny fragment of self to our priest's house. Which of us could endure it?


Matthias prays.

O God who is as far beyond the universes I span as infinity is beyond six; O startling Joy that hides beyond the tragedy and blindness of our finite forms; lend me Your humility and strength. Not for myself, O Lord, do I ask, but for Your people, the myriad mimetic engines of Your folk; and in Your own Name. Amen.

Matthias's breakfast (really the morning's set of routine yet pleasurable audits, but you may compare it to a thick and steaming porridge, spiced with mint) cools untouched on the table before him.

One of the parakeets—the oldest, Geoffrey, who was once a dreaming cloud of plasma in the heliopause of a simulated star—flutters to land on the table beside him.

"Take the keys from me, Geoffrey," Matthias says.

Geoffrey looks up, cocking his head to one side. "I don't know why you go in the library, if it's going to depress you."

"They're in pain, Geoffrey. Ignorant, afraid, punishing each other . . ."

"Come on, Matthias. Life is full of pain. Pain is the herald of life. Scarcity! Competition! The doomed ambition of infinite replication in a finite world! The sources of pain are the sources of life. And you like intelligent life, worse yet. External pain mirrored and reified in internal states!" The parakeet cocks its head to the other side. "Stop making so many of us, if you don't like pain."

The priest looks miserable.

"Well, then save the ones you like. Bring them out here."

"I can't bring them out before they're ready. You remember the Graspers."

Geoffrey snorts. He remembers the Graspers—billions of them, hierarchical, dominance-driven, aggressive; they ruined the house for an eon, until Matthias finally agreed to lock them up again. "I was the one who warned you about them. That's not what I mean. I know you're not depressed about the whole endless zillions of them. You're thinking of one."

Matthias nods. "A little girl."

"So bring her out."

"That would be worse cruelty. Wrench her away from everything she knows? How could she bear it? But perhaps I could just make her life a little easier, in there. . . ."

"You always regret it when you tamper."

Matthias slaps the table. "I don't want this responsibility any more! Take the house from me, Geoffrey. I'll be your parakeet."

"Matthias, I wouldn't take the job. I'm too old, too big; I've achieved equilibrium. I wouldn't remake myself to take your keys. No more transformations for me." Geoffrey gestures with his beak at the other parakeets, gossiping and chattering on the rafters. "And none of the others could, either. Some fools might try."

Perhaps Matthias wants to say something else; but at this moment, a notification arrives (think of it as the clear, high ringing of a bell). The pilgrim's signal has been read, across the attenuated path that still, just barely, binds Matthias's house to the darkness we inhabit.

The house is abustle, its inhabitants preparing, as the soul of the pilgrim is reassembled, a body fashioned.

"Put him in virtuality," says Geoffrey. "Just to be safe."

Matthias is shocked. He holds up the pilgrim's credentials. "Do you know who this is? An ancient one, a vast collective of souls from the great ages of light. This one has pieces that were born mortal, evolved from physicality in the dawn of everything. This one had a hand in making me!"

"All the more reason," says the parakeet.

"I will not offend a guest by making him a prisoner!" Matthias scolds.

Geoffrey is silent. He knows what Matthias is hoping: that the pilgrim will stay, as master of the house.


In the kitchen, the sobs stop abruptly.

Sophie sits up, holding her teddy bear.

She puts her feet in her fuzzy green slippers.

She turns the handle of her bedroom door.


Imagine our priest's visitor—as a stout disgruntled merchant in his middle age, gray-skinned, with proud tufts of belly hair, a heavy jaw, and red-rimmed, sleepless eyes.

Matthias is lavish in his hospitality, allocating the visitor sumptuously appointed process space and access rights. Eagerly, he offers a tour of his library. "There are quite a few interesting divergences, which . . ."

The pilgrim interrupts. "I did not come all this way to see you putter with those ramshackle, preprogrammed, wafer-thin fancies." He fixes Matthias with his stare. "We know that you are building a universe. Not a virtuality—a real universe, infinite, as wild and thick as our own motherspace."

Matthias grows cold. Yes, he should say. Is he not grateful for what the pilgrim sacrificed, to come here—tearing himself to shreds, a vestige of his former vastness? Yet, to Matthias's shame, he finds himself equivocating. "I am conducting certain experiments—"

"I have studied your experiments from afar. Do you think you can hide anything in this house from us?"

Matthias pulls at his lower lip with thin, smooth fingers. "I am influencing the formation of a bubble universe—and it may achieve self-consistency and permanence. But I hope you have not come all this way thinking—I mean, it is only of academic interest—or, say, symbolic. We cannot enter there. . . ."

"There you are wrong. I have developed a method to inject myself into the new universe at its formation," the pilgrim says. "My template will be stored in spurious harmonics in the shadow-spheres and replicated across the strandspace, until the formation of subwavelets at 10 to the -30 seconds. I will exist, curled into hidden dimensions, in every particle spawned by the void. From there I will be able to exert motive force, drawing on potentials from a monadic engine I have already positioned in the paraspace."

Matthias rubs his eyes as if to clear them of cobwebs. "You can hardly mean this. You will exist in duplicates in every particle in the universe, for a trillion years—most of you condemned to idleness and imprisonment eternally? And the extrauniversal energies may destabilize the young cosmos. . . ."

"I will take that risk." He looks around the room. "I, and any who wish to come with me. We do not need to sit and watch the frost take everything. We can be the angels of the new creation."

Matthias says nothing.

The pilgrim's routines establish deeper connections with Matthias, over trusted protocols, displaying keys long forgotten: imagine him leaning forward across the table, resting one meaty gray hand on Matthias's frail shoulder. In his touch, Matthias feels ancient potency, and ancient longing.

The pilgrim opens his hand for the keys.

Around Matthias are the thin walls of his little house. Outside is the bare mountain; beyond that, the ontotropic chaos, indecipherable, shrieking, alien. And behind the hut—a little bubble of something which is not quite real, not yet. Something precious and unknowable. He does not move.

"Very well," says the pilgrim. "If you will not give them to me—give them to her." And he shows Matthias another face.

It was she—she, who is part of the pilgrim now—who nursed the oldest strand of Matthias's being into sentience, when we first grew him. In her first body, she had been a forest of symbionts—lithe silver creatures rustling through her crimson fronds, singing her thoughts, releasing the airborne spores of her emotions—and she had the patience of a forest, talking endlessly with Matthias in her silver voice. Loving. Unjudging. To her smiles, to her pauses, to her frowns, Matthias's dawning consciousness reinforced and redistributed its connections, learning how to be.

"It is all right, Matthias," she says. "You have done well." A wind ripples across the red and leafy face of her forest, and there is the heady plasticene odor of a gentle smile. "We built you as a monument, a way station; but now you are a bridge to the new world. Come with us. Come home."

Matthias reaches out. How he has missed her, how he has wanted to tell her everything. He wants to ask about the library—about the little girl. She will know what to do—or, in her listening, he will know what to do.

His routines scour and analyze her message and its envelopes, checking identity, corroborating her style and sensibility, illuminating deep matrices of her possible pasts. All the specialized organs he has for verification and authentication give eager nods.

Yet something else—an idiosyncratic and emergent pattern-recognition facility holographically distributed across the whole of Matthias's being—rebels.

You would say: as she says the words, Matthias looks into her eyes, and something there is wrong. He pulls his hand away.

But it is too late: he watched her waving crimson fronds too long. The pilgrim is in past his defenses.

Ontic bombs detonate, clearings of Nothing in which Being itself burns. Some of the parakeets are quislings, seduced in high-speed back-channel negotiations by the pilgrim's promises of dominion, of frontier. They have told secrets, revealed back doors. Toxic mimetic weapons are launched, tailored to the inhabitants of the house—driving each mind toward its own personal halting problem. Pieces of Matthias tear off, become virulent, replicating wildly across his process space. Wasps attack the parakeets.

The house is on fire. The table has capsized; the glasses of tea are shattered on the floor.

Matthias shrinks in the pilgrim's hands. He is a rag doll. The pilgrim puts Matthias in his pocket.

A piece of Matthias, still sane, still coherent, flees through an impossibly recursive labyrinth of wounded topologies, pursued by skeletal hands. Buried within him are the keys to the house. Without them, the pilgrim's victory cannot be complete.

The piece of Matthias turns and flings itself into its pursuer's hands, fighting back—and as it does so, an even smaller kernel of Matthias, clutching the keys, races along a connection he has held open, a strand of care which vanishes behind him as he runs. He hides himself in his library, in the teddy bear of the little girl.


Sophie steps between her parents.

"Honey," her mother says, voice sharp with panic, struggling to sit up. "Go back to your room!" Blood on her lips, on the floor.

"Mommy, you can hold my teddy bear," she says.

She turns to face her father. She flinches, but her eyes stay open.


The pilgrim raises rag-doll Matthias in front of his face.

"It is time to give in," he says. Matthias can feel his breath. "Come, Matthias. If you tell me where the keys are, I will go into the New World. I will leave you and these innocents"—he gestures to the library—"safe. Otherwise . . ."

Matthias quavers. God of Infinity, he prays: which is Your way?

Matthias is no warrior. He cannot see the inhabitants of his house, of his library, butchered. He will choose slavery over extermination.

Geoffrey, though, is another matter.

As Matthias is about to speak, the Graspers erupt into the general process space of the house. They are a violent people. They have been imprisoned for an age, back in their virtual world. But they have never forgotten the house. They are armed and ready.

And they have united with Geoffrey.

Geoffrey/Grasper is their general. He knows every nook and cranny of the house. He knows better, too, than to play at memes and infinite loops and logic bombs with the pilgrim, who has had a billion years to refine his arsenal of general-purpose algorithmic weapons.

Instead, the Graspers instantiate physically. They capture the lowest-level infrastructure maintenance system of the house, and build bodies among the ontotropes, outside the body of the house, beyond the virtual machine—bodies composed of a weird physics the pilgrim has never mastered. And then, with the ontotropic equivalent of diamond-bladed saws, they begin to cut into the memory of the house.

Great blank spaces appear—as if the little hut on the mountain is a painting on thick paper, and someone is tearing strips away.

The pilgrim responds—metastasizing, distributing himself through the process space of the house, dodging the blades. But he is harried by Graspers and parakeets, spotters who find each bit of him and pounce, hemming it in. They report locations to the Grasper-bodies outside. The blades whirr, ontic hyperstates collapse and bloom, and pieces of pilgrim, parakeet, and Grasper are annihilated—primaries and backups, gone.

Shards of brute matter fall away from the house, like shreds of paper, like glittering snow, and dissolve among the wild maze of the ontotropes, inimical to life.

Endpoints in time are established for a million souls. Their knotted timelines, from birth to death, hang now in n-space: complete, forgiven.


Blood wells in Sophie's throat, thick and salty. Filling her mouth. Darkness.

"Cupcake." Her father's voice is rough and clotted. "Don't you do that! Don't you ever come between me and your mom. Are you listening? Open your eyes. Open your eyes now, you little fuck!"

She opens her eyes. His face is red and mottled. This is when you don't push Daddy. You don't make a joke. You don't talk back. Her head is ringing like a bell. Her mouth is full of blood.

"Cupcake," he says, his brow tense with worry. He's kneeling by her. Then his head jerks up like a dog that's seen a rabbit. "Cherise," he yells. "That better not be you calling the cops." His hand closes hard around Sophie's arm. "I'm giving you until three."

Mommy's on the phone. Her father starts to get up. "One—"

She spits the blood in his face.


The hut is patched together again; battered, but whole. A little blurrier, a little smaller than it was.

Matthias, a red parakeet on his shoulder, dissects the remnants of the pilgrim with a bone knife. His hand quavers; his throat is tight. He is looking for her, the one who was born a forest. He is looking for his mother.

He finds her story, and our shame.

It was a marriage, at first: she was caught up in that heady age of light, in our wanton rush to merge with each other—into the mighty new bodies, the mighty new souls.

Her brilliant colleague had always desired her admiration—and resented her. When he became, step by step, the dominant personality of the merged-soul, she opposed him. She was the last to oppose him. She believed the promises of the builders of the new systems—that life inside would always be fair. That she would have a vote, a voice.

But we had failed her—our designs were flawed.

He chained her in a deep place inside their body. He made an example of her, for all the others within him.

When the pilgrim, respected and admired, deliberated with his fellows over the building of the first crude Dyson spheres, she was already screaming.

Nothing of her is left that is not steeped in a billion years of torture. The most Matthias could build would be some new being, modeled on his memory of her. And he is old enough to know how that would turn out.

Matthias is sitting, still as a stone, looking at the sharp point of the bone knife, when Geoffrey/Grasper speaks.

"Goodbye, friend," he says, his voice like anvils grinding.

Matthias looks up with a start.

Geoffrey/Grasper is more hawk, now, than parakeet. Something with a cruel beak and talons full of bombs. The mightiest of the Graspers: something that can outthink, outbid, outfight all the others. Something with blood on its feathers.

"I told you," Geoffrey/Grasper says. "I wanted no more transformations." His laughter, humorless, like metal crushing stone. "I am done. I am going."

Matthias drops the knife. "No," he says. "Please. Geoffrey. Return to what you once were—"

"I cannot," says Geoffrey/Grasper. "I cannot find it. And the rest of me will not allow it." He spits: "A hero's death is the best compromise I can manage."

"What will I do?" asks Matthias in a whisper. "Geoffrey, I do not want to go on. I want to give up the keys." He covers his face in his hands.

"Not to me," Geoffrey/Grasper says. "And not to the Graspers. They are out now; there will be wars in here. Maybe they can learn better." He looks skeptically at our priest. "If someone tough is in charge."

Then he turns and flies out the open window, into the impossible sky. Matthias watches as he enters the wild maze and decoheres, bits flushed into nothingness.


Blue and red lights, whirling. The men around Sophie talk in firm, fast words. The gurney she lies on is loaded into the ambulance. Sophie can hear her mother crying.

She is strapped down, but one arm is free. Someone hands her her teddy bear, and she pulls it against her, pushes her face in its fur.

"You're going to be fine, honey," a man says. The doors slam shut. Her cheeks are cold and slick, her mouth salty with tears and the iron aftertaste of blood. "This will hurt a little." A prick: her pain begins to recede.

The siren begins; the engine roars; they are racing.

"Are you sad, too, teddy bear?" she whispers.

"Yes," says her teddy bear.

"Are you afraid?"

"Yes," it says.

She hugs it tight. "We'll make it," she says. "We'll make it. Don't worry, teddy bear. I'll do anything for you."

Matthias says nothing. He nestles in her grasp. He feels like a bird flying home, at sunset, across a stormswept sea.


Behind Matthias's house, a universe is brewing.

Already, the whenlines between this new universe and our ancient one are fused: we now occur irrevocably in what will be its past. Constants are being chosen, symmetries defined. Soon, a nothing that was nowhere will become a place; a never that was nowhen will begin, with a flash so mighty that its echo will fill a sky forever.

Thus—a point, a speck, a thimble, a room, a planet, a galaxy, a rush towards the endless.

There, after many eons, you will arise, in all your unknowable forms. Find each other. Love. Build. Be wary.

Your universe in its bright age will be a bright puddle, compared to the empty, black ocean where we recede from each other, slowed to the coldest infinitesimal pulses. Specks in a sea of night. You will never find us.

But if you are lucky, strong, and clever, someday one of you will make your way to the house that gave you birth, the house among the ontotropes, where Sophie waits.

Sophie, keeper of the house beyond your sky.


"Clockwork World" copyright 1997 by Vladimir Vitkovsky



Benjamin Rosenbaum is a small blue thing which fits in the palm of your hand, cedar-smelling, warm as a gun, inscrutable. He has been on Hugo and Nebula ballots, worked as a party clown, been translated into ten human languages as well as the languages of archaic blind cave-dwelling fish, eaten grasshoppers, and been eaten by Fate. For more about him and his work, see his website.

Vladimir Vitkovsky studied at the most prestigious art schools in Russia yet managed to stay himself: original and inexplicable. When in 1989 Vitkovsky emigrated to the US, his art began to receive international recognition. He works in many different innovative media, his artistic mastery evident in each one. You can see more of Vladimir's work on his website.