The Jupiter Theft

He worked on the Moog while the assistant brought in their lunch. He didn’t care to think about the Cygnans’ lunch except to note that it didn’t seem to enjoy being eaten. His own lunch was another half-thawed block of food from his own ship’s freezer—this time a pie-sized portion of mincemeat stuffing intended for Christmas dinner.

The Moog had two five-octave keyboards. He compressed them into a single compass of two and one half octaves composed of quarter-tones. It fit the Cygnan vocal range perfectly.

He fiddled individually with what seemed to be some of the more important tones in the Cygnan vocabulary—the off-key B flat in Tetrachord’s name and the wrong-note bagpipe tone that finished off the octave, among others. But for most of it he simply had the computer chop up the normal equal-temperament octave into forty-eight pieces instead of twelve. He could retune other crucial notes one at a time as they came up while he was learning to talk Cygnan.

It took him another hour to alter the Moog’s memory so that it would replay some of the standard Cygnan sequences at the touch of a button—the interrogative trill and the cascade of minor thirds, and some of the turns and arabesques he’d been able to pin down so far. He had only to play them once through and tell the Moog to remember them. They were plugged into the bank of cheater buttons that were meant for slipbeat rhythms and computer-generated contrapuntal voices.

When he’d finished, not even Johann Sebastian Bach could have played recognizable human music on the Moog. It was a Cygnan speech synthesizer now, with lots of unused learning capacity.

His accomplishment earned him a reprieve. It made Conversing a lot easier for the Cygnans, for one thing, and that rekindled their interest. They didn’t have to stop to figure out what Jameson meant when he interpolated a broken chord, and they didn’t have to repeat things for him endlessly; the Moog’s play-along attachment taped them the first time, and the Cygnans could go about their business while Jameson devoted himself to memorizing word lists.

They didn’t even make him return to his cage. Instead, they let him sleep in a small storage room adjacent to their office or workshop, or whatever it was, and work on his vocabulary while they were busy. During their frequent absences, he was allowed to wander through the workshop, as if he were a trusted pet. Among the looted human artifacts he found clothing and toilet articles, and soon he was able to get warm again and clean himself up. The aproned assistant brought him his meals at regular intervals: more frozen food from the freezer and, as time went on, unfamiliar stuff that the Cygnans evidently had learned to synthesize. Most of it was an unappetizing mush, but it didn’t make him sick. At least he wouldn’t starve when human supplies ran out.

To Jameson’s immense relief, learning the Cygnan language turned out to be easy. The structure, such as it was, was positional. He was able to get along fairly well simply by piling words on top of one another, as you could do in Chinese.

He remembered something one of his language teachers on Earth had told him: Sophisticated languages tend to dispense with grammar. Languages of primitive cultures, like Eskimo or Hottentot, have far more complex a structure than highly evolved languages like English or Chinese. The Cygnans, who had been wandering through space for untold millennia, must have a far older civilization than man.

Their language had been simplified. Given time, Jameson could have taught Mike Berry or any other competent amateur musician to play back Cygnan “words” by rote on the Moog’s modified keyboard, or punch in his programmed phrases. But Mike didn’t have absolute pitch, so he could never have understood the Cygnan’s replies.

The Cygnan language was simple, all right. But nobody in the crew except Jameson could possibly have understood it.

Chapter 18

“Is this a little Jameson?”

At least Jameson assumed the word was “little” or something close to it. It fit the context and contained, within a cloud of embellishments, the set of phonemes that denoted something that was small in size or a model for something larger.

“No,” Jameson said, his fingers flashing over the keyboards of the Moog. “It is an animal.”

He had gotten to that point of fluency where his fingers thought for him in Cygnanese. It must be the same, he imagined, for people who habitually communicated in deaf-and-dumb signals: language without vocalization, but language nevertheless.

“Yes, but is this the animal that (tootle-tootle-peep-peep-peep) Jamesons?”