The Year's Best Science Fiction, Vol. 20

Amber, like most of the post-industrialists aboard the orphanage ship Ernst Sanger, is in her early teens: her natural abilities are enhanced by germ-line genetic recombination. Like most of the others, half her wetware is running outside her skull on an array of processor nodes hooked in by quantum-entangled communication channels-her own personal metacortex. These kids are mutant youth, burning bright: not quite incomprehensible to their parents, but profoundly alien-the generation gap is as wide as the 1960s and as deep as the solar system. Their parents, born in the gutter-years of the twentieth century, grew up with white elephant shuttles and a space station that just went round and round, and computers that went beep when you pushed their buttons: the idea that Jupiter was somewhere you could go was as profoundly counter-intuitive as the Internet to a baby boomer.

Most of the passengers on the can have run away from parents who thought that teenagers belong in school, unable to come to terms with a generation so heavily augmented that they are fundamentally brighter than the adults around them. Amber was fluent in nine languages by the age of six, only two of them human, and six of them serializable; her birthmother-who had denied her most of the prenatal mods then available, insisting that a random genotype was innately healthier-had taken her to the school psychiatrist for speaking in synthetic tongues. That was the final straw for Amber: using an illicit anonymous phone, she called her father. Her mother had him under a restraining order, but it hadn’t occurred to her to apply for an order against his partner…

***

Vast whorls of cloud ripple beneath the ship’s drive stinger: orange and brown and muddy grey streaks slowly ripple across the bloated horizon of Jupiter. Sanger is nearing perijove, deep within the gas giant’s lethal magnetic field; static discharges flicker along the tube, arcing over near the deep violet exhaust cloud emerging from the magnetic mirrors of the ship’s VASIMR motor. The plasma rocket is cranked up to maximum mass flow, its specific impulse almost as low as a fission rocket but thrusting at maximum as the assembly creaks and groans through the gravitational assist maneuver. In another hour, the drive will flicker off, and the orphanage will fall up and out toward Ganymede, before dropping back in toward orbit around Amalthea, Jupiter’s fourth moon (and source of much of the material in the Gossamer ring). They’re not the first canned primates to make it to Jupiter subsystem, but they’re one of the first wholly private ventures. The bandwidth out here sucks dead slugs through a straw, with millions of kilometers of vacuum separating them from scant hundreds of mouse-brained microprobes and a few mechanical dinosaurs left behind by NASA or ESA. They’re so far from the inner system that a good chunk of the ship’s communications array is given over to caching: the news is whole kiloseconds old by the time it gets out here.

Amber, along with about half the waking passengers, watches in fascination from the common room. The commons are a long axial cylinder, a double-hulled inflatable at the center of the ship with a large part of their liquid water supply stored in its wall-tubes. The far end is video-enabled, showing them a realtime 3D view of the planet as it rolls beneath them: in reality, there’s as much mass as possible between them and the trapped particles in the Jovian magnetic envelope. “I could go swimming in that,” sighs Lilly. “Just imagine, diving into that sea…” Her avatar appears in the window, riding a silver surfboard down the kilometers of vacuum.

“Nice case of windburn you’ve got there,” someone jeers: Kas. Suddenly, Lilly’s avatar, heretofore clad in a shimmering metallic swimsuit, turns to the texture of baked meat, and waggles sausage-fingers up at them in warning.

“Same to you and the window you climbed in through!” Abruptly the virtual vacuum outside the window is full of bodies, most of them human, contorting and writhing and morphing in mock-combat as half the kids pitch into the virtual deathmatch: it’s a gesture in the face of the sharp fear that outside the thin walls of the orphanage lies an environment that really is as hostile as Lilly’s toasted avatar would indicate.