Chapter One: Cardboard City
Through this evening's tide of faces unregistered, unrecognized, amid
hurrying black shoes, furled umbrellas, the crowd descending like a single
organism into the station's airless heart, comes Shinya Yamazaki, his notebook
clasped beneath his arm like the egg case of some modest but moderately
successful marine species.
Evolved to cope with jostling elbows, oversized Ginza shopping bags, ruthless briefcases, Yamazaki and his small burden of information go down into the neon depths. Toward this tributary of relative quiet, a tiled corridor connecting parallel escalators.
Central columns, sheathed in green ceramic, support a ceiling pocked with dust-furred ventilators, smoke detectors, speakers. Behind the columns, against the far wall, derelict shipping cartons huddle in a ragged train, improvised shelters constructed by the city's homeless. Yamazaki halts, and in that moment all the oceanic clatter of commuting feet washes in, no longer held back by his sense of mission, and he deeply and sincerely wishes he were elsewhere.
He winces, violently, as a fashionable young matron, features swathed in Chanel micropore, rolls over his toes with an expensive three-wheeled stroller. Blurting a convulsive apology, Yamazaki glimpses the infant passenger through flexible curtains of some pink-tinted plastic, the glow of a video display winking as its mother trundles determinedly away.
Yamazaki sighs, unheard, and limps toward the cardboard shelters. He wonders briefly what the passing commuters will think, to see him enter the carton fifth from the left. It is scarcely the height of his chest, longer than the others, vaguely coffin-like, a flap of thumb-smudged white corrugate serving as its door.
Perhaps they will not see him, he thinks. Just as he himself has never seen anyone enter or exit one of these tidy hovels. It is as though their inhabitants are rendered invisible in the transaction that allows such structures to exist in the context of the station. He is a student of existential sociology, and such transactions have been his particular concern.
And now he hesitates, fighting the urge to remove his shoes and place them beside the rather greasy-looking pair of yellow plastic sandals arranged beside the entrance flap on a carefully folded sheet of Parco gift wrap. No, he thinks, imagining himself waylaid within, struggling with faceless enemies in a labyrinth of cardboard. Best he not be shoeless.
Sighing again, he drops to his knees, the notebook clutched in both hands. He kneels for an instant, hearing the hurrying feet of those who pass behind him. Then he places the notebook on the ceramic tile of the station's floor and shoves it forward, beneath the corrugate flap, and follows it on his hands and knees.
He desperately hopes that he has found the right carton. He freezes there in unexpected light and heat. A single halogen fixture floods the tiny room with the frequency of desert sunlight. Unventilated, it heats the space like a reptile's cage.
"Come in," says the old man, in Japanese. "Don't leave your ass hanging out that way." He is naked except for a sort of breechclout twisted from what may once have been a red T-shirt. He is seated, cross-legged, on a ragged, paint-flecked tatami mat. He holds a brightly colored toy figure in one hand, a slender brush in the other. Yamazaki sees that the thing is a model of some kind, a robot or military exoskeleton. It glitters in the sun-bright light, blue and red and silver. Small tools are spread on the tatami: a razor knife, a sprue cutter, curls of emery paper.
The old man is very thin, clean-shaven but in need of a haircut. Wisps of gray hair hang on either side of his face, and his mouth is set in what looks to be a permanent scowl of disapproval. He wears glasses with heavy black plastic frames and archaically thick lenses. The lenses catch the light.
Reprinted from ALL TOMORROWS PARTIES by William Gibson by permission of G. P. Putnams Sons, a member of Penguin Putnam Inc. Copyright © 1999 by Gibson. All rights reserved. This excerpt, or any parts thereof, may not be reproduced in any form without permission.
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