Chapter 70 ORIGIN

From the point of view of admittedly privileged white male technocrats such as Randy Waterhouse and his ancestors, the Palouse was like one big live-in laboratory for nonlinear aerodynamics and chaos theory. Not much was alive there, and so one's observations were not forever being clouded by trees, flowers, fauna, and the ploddingly linear and rational endeavors of humans. The Cascades blocked any of those warm, moist, refreshing Pacific breezes, harvesting their moisture to carpet ski areas for dewy-skinned Seattleites, and diverting what remained north to Vancouver or south to Portland. Consequently the Palouse had to get its air shipped down in bulk from the Yukon and British Columbia. It flowed across the blasted volcanic scab land of central Washington in (Randy supposed) a more or less continuous laminar sheet that, when it hit the rolling Palouse country, ramified into a vast system of floods, rivers and rivulets diverging around the bald swelling hills and recombining in the sere declivities. But it never recombined exactly the way it was before. The hills had thrown entropy into the system. Like a handful of nickels in a batch of bread dough this could be kneaded from place to place but never removed. The entropy manifested itself as swirls and violent gusts and ephemeral vortices. All of these things were clearly visible, because all summer the air was full of dust or smoke, and all winter it was full of windblown snow.

Whitman had dust devils (snow devils in the winter) in the way that medieval Guangzhou presumably had rats. Randy followed dust devils to school when he was a kid. Some were small enough that you could almost cup them in your hand, and some were like small tornadoes, fifty or a hundred feet high, that would appear on hilltops or atop shopping malls like biblical prophecies as filtered through the low-budget SFX technology and painfully literal-minded eye of a fifties epic film director. They at least scared the bejesus out of newcomers. When Randy got bored in school, he would look at the window and watch these things chase each other around the empty playground. Sometimes a roughly car-sized dust devil would glide across the four-square courts and between the swingsets and score a direct hit on the jungle gym, which was an old-fashioned, unpadded, child-paralyzing unit hammered together by some kind of Dark Ages ironmonger and planted in solid concrete, a real school-of-hard-knocks, survival-of-the-fittest one. The dust devil would seem to pause as it enveloped the jungle gym. It would completely lose its form and become a puff of dust that would begin to settle back down to the ground as all heavier-than-air things really ought to. But then suddenly the dust devil would reappear on the other side of the jungle gym and keep going. Or perhaps two dust devils would spin off in opposite directions.

Randy spent plenty of time chasing and carrying out impromptu experiments on dust devils while walking to and from school, to the point of getting bounced off the grille of a shrieking Buick once when he chased a roughly shopping-cart-sized one into the street in an attempt to climb into the center of it. He knew that they were both fragile and tenacious. You could stomp down on one of them and sometimes it would just dodge your foot, or swirl around it, and keep going. Other times, like if you tried to catch one in your hands, it would vanish-but then you'd look up and see another one just like it twenty feet away, running away from you. The whole concept of matter spontaneously organizing itself into grotesquely improbable and yet indisputably self perpetuating and fairly robust systems sort of gave Randy the willies later on, when he began to learn about physics.

There was no room for dust devils in the laws of physics, as least in the rigid form in which they were usually taught. There is a kind of unspoken collusion going on in mainstream science education: you get your competent but bored, insecure and hence stodgy teacher talking to an audience divided between engineering students, who are going to be responsible for making bridges that won't fall down or airplanes that won't suddenly plunge vertically into the ground at six hundred miles an hour, and who by definition get sweaty palms and vindictive attitudes when their teacher suddenly veers off track and begins raving about wild and completely nonintuitive phenomena; and physics students, who derive much of their self-esteem from knowing that they are smarter and morally purer than the engineering students, and who by definition don't want to hear about anything that makes no fucking sense. This collusion results in the professor saying: (something along the lines of) dust is heavier than air, therefore it falls until it hits the ground. That's all there is to know about dust. The engineers love it because they like their issues dead and crucified like butterflies under glass. The physicists love it because they want to think they understand everything. No one asks difficult questions. And outside the windows, the dust devils continue to gambol across the campus.

Now that Randy's back in Whitman for the first time in several years, watching (because it's winter) ice devils zigzagging across the Christmas-empty streets, he is inclined to take a longer view of the matter, which goes a little something like this: these devils, these vortices, are a consequence of hills and valleys that are probably miles and miles upwind. Basically, Randy, who has blown in from out of town, is in a mobile frame of mind, and is seeing things from the wind's frame of reference-not the stationary frame of reference of the little boy who rarely left town. From the wind's frame of reference, it (the wind) is stationary and the hills and valleys are moving things that crumple the horizon and then rush towards it and then interfere with it and go away, leaving the wind to sort out consequences later on down the line. And some of the consequences are dust or ice devils. If there was more stuff in the way, like expansive cities filled with buildings, or forests filled with leaves and branches, then that would be the end of the story; the wind would become completely deranged and cease to exist as a unitary thing, and all of the aerodynamic action would be at the incomprehensible scale of micro-vortices around pine needles and car antennas.

A case in point would be the parking lot of Waterhouse House, which is normally filled with cars and therefore a complete wind-killer. You aren't going to see dust devils at the downwind edge of a full parking lot, just a generalized seepage of dead and decayed wind. But it is Christmas break and there are all of three cars parked in this space, which doubles as football-overflow and hence is about the size of an artillery practice range. The asphalt is dead-monitor-screen grey. A volatile gas of ice swirls across it as freely as a sheen of fuel on warm water, except where it strikes the icy sarcophagi of these three abandoned vehicles, which have evidently been sitting in this otherwise empty lot for a couple of weeks now, since all of the other cars went away on Christmas break. Each car has become the first cause of a system of wakes and standing vortices that extends downstream for hundreds of yards. The wind here is a glinting abrasive thing, a perpetual, face-shredding, eyeball-poking tendency in the fabric of spacetime, inhabited by vast platinum-blond arcs of fire that are centered on the low winter sun. Crystalline water is suspended in it all the time, is why: shards of ice that are smaller than snowflakes-probably just individual legs of snowflakes that have been sheared off and borne into the air as the wind snapped and rattled over the crests of Canadian snow-dunes. Once airborne, they stay airborne unless they find themselves ducted into some pocket of dead air: the eye of a vortex or the still boundary layer of a dead car's parking-lot wake. And so over the weeks the vortices and standing waves have become visible, like three-dimensional virtual-reality renderings of themselves.

Waterhouse House rises above this tableau, a high-rise dorm that no person prominent enough to have a dorm named after him would want to have named after him. Out of its climatically inappropriate acreage of picture window shines the same embarrassing, greenish light radiated by algae-scummed domestic aquaria. Janitors are going through it with machines the size of hot dog carts, wrangling these mile-long coils of thumb-thick orange power cable, steaming beer vomit and artificial popcorn-butter lipids up out of the thin grey mats that, when Randy was there, seemed not so much like carpet as references to carpeting or carpet signifiers. When Randy now pulls into the main vehicle entrance, past the big tombstone that says WATERHOUSE HOUSE, he cannot but look straight out the windshield and through the dorm's front windows and straight at a large portrait of his grandfather, Lawrence Pritchard Waterhouse-one of a dozen or so figures, mostly departed now, who compete for the essentially bogus title of "inventor of the digital computer." The portrait is securely bolted to the cinderblock wall of the lobby and imprisoned under a half-inch-thick slab of Plexiglas that must be replaced every couple of years, as it fogs from repeated scrubbings and petty vandalizations. Seen through this milky cataract, Lawrence Pritchard Waterhouse is grimly resplendent in full doctoral robes. He has one foot up on something, his elbow planted on the elevated knee, and has tucked his robes back behind the other arm and planted his fist on his hip. It is meant to be a sort of dynamic posture, but to Randy, who at the age of five was present for its unveiling, it has a kind of incredulous what-the-hell-are-those-little-people-doing-down-there vibe about it.

Other than the three dead cars in their shells of hardened, dust-infused ice, there is nothing in the parking lot save about two dozen items of antique furniture and a few other treasures such as a complete sterling silver tea service and a dark, time-wracked trunk. As Randy pulls in with his Uncle Red and his Aunt Nina, he notes that the Shaftoe boys have discharged the responsibilities for which they will be drawing minimum wage plus twenty-five percent all day long: namely they have moved all of these items from where Uncle Geoff and Auntie Anne placed them back to the Origin.

In a gesture of companionship and/or uncle-esque bonhomie, Uncle Red, much to the evident resentment of Aunt Nina, has claimed the Acura's passenger seat, leaving Aunt Nina marooned in the back where she evidently feels much more psychically isolated than the situation would seem to warrant. She makes lateral sliding motions trying to center the eyes of first Randy, then Uncle Red, in the rearview minor. Randy has taken to relying solely on the outside rearview mirrors during the ten-minute drive over from the hotel, because when he glances at the inside one he keeps seeing Aunt Nina's dilated pupils aimed down his throat like twin shotgun barrels. The blast of the heater/defroster forms a pocket of auditory isolation back there which on top of her already prominent feelings of near-animal rage and stress have left her volatile and obviously dangerous.

Randy heads straight for the Origin, as in the intersection of the X and Y axes, which is marked by a light pole with its very own multiton system of wind-deposited wakes and vortices.

"Look," says Uncle Red, "all we want to accomplish here is to make sure that your mother's legacy, if that is the correct term for the possessions of one who is not actually dead but merely moved into a long-term care facility, is equally divided among her five offspring. Am I right?"

This is not addressed to Randy, but he nods anyway, trying to show a united front. He has been grinding his teeth for two days straight; the places where his jaw-muscles anchor to his skull have become the foci of tremendous radiating systems of surging and pulsing pain.

"I think you'd agree that an equal division is all we want," Uncle Red continues. "Correct?"

After a worrisomely long pause, Aunt Nina nods. Randy manages to glimpse her face in the rearview as she makes another dramatic lateral move, and sees there a look of almost nauseous trepidation, as if this equal-division concept might be some Jesuitical snare.

"Now, here's the interesting part," says Uncle Red, who is the chairman of the mathematics department at Okaley College in Macomb, Illinois. "How do we define 'equal'? This is what your brothers, and brothers-in-law, and Randy and I were debating so late into the night last night. If we were dividing up a stack of currency, it would be easy, because currency has a monetary value that is printed right on its face, and the bills are interchangeable-no one gets emotionally attached to a particular dollar bill."

"This is why we should have an objective appraiser-"

"But everyone's going to disagree with what the appraiser says, Nina, love," says Uncle Red. "Furthermore, the appraiser will totally miss out on the emotional dimension, which evidently looms very large here, or so it would seem, based on the, uh, let's say melodramaticcharacter of the, uh, discussion, if discussion isn't too dignified a term for what some might perceive as more of a, well, catfight, that you and your sisters were conducting all day yesterday."

Randy nods almost imperceptibly. He pulls up and parks next to the furniture that is again clustered around the Origin. At the edge of the parking lot, near where the Y axis (here denoting perceived emotional value) meets a retaining wall, the Shaftoes' hot rod sits, all steamed up on the inside.

"The question reduces," Uncle Red says, "to a mathematical one: how do you divide up an inhomogeneous set of nobjects among m people (or couples actually); i.e., how do you partition the set into msubsets (S [sub 1],S [sub 2], ... ,S [sub m]) such that the value of each subset is as close as possible to being equal?"

"It doesn't seem that hard," Aunt Nina begins weakly. She is a professor of Qwghlmian linguistics.

"It is actually shockingly difficult," Randy says. "It is closely akin to the Knapsack Problem, which is so difficult to solve that it has been used as the basis for cryptographic systems."

"And that's not even taking into account that each of the couples would appraise the value of each of the nobjects differently!" Uncle Red shouts. By this point, Randy has shut off the car, and the windows have begun to steam up. Uncle Red pulls off a mitten and begins to draw figures in the fog on the windshield, using it like a blackboard. "For each of the mpeople (or couples) there exists an n-element value vector, V, where V [sub 1]is the value that that particular couple would place on item number 1 (according to some arbitrary numeration system) and V [sub 2]is the value they would place on item number 2 and so on all the way up to item number n.These mvectors, taken together, form a value matrix. Now, we can impose the condition that each vector must total up to the same amount; i.e., we can just arbitrarily specify some notional value for the entire collection of furniture and other goods and impose the condition that

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where [tau] is a constant."

"But we might all have different opinions as to what the total value is, as well!" says Aunt Nina, gamely.

"That has no impact mathematically," Randy whispers.

"It is just an arbitrary scaling factor!" Uncle Red says witheringly. "This is why I ended up agreeing with your brother Tom, though I didn't at first, that we should take a cue from the way he and the other relativistic physicists do it, and just arbitrarily set [tau] =1. Which forces us to deal with fractional values, which I thought some of the ladies, present company excluded of course, might find confusing, but at least it emphasizes the arbitrary nature of the scaling factor and helps to eliminate thatsource of confusion." Uncle Tom tracks asteroids in Pasadena for the Jet Propulsion Laboratory.

"There's the Gomer Bolstrood console," Aunt Nina exclaims, rubbing a hole in the fog on her window, and then continuing to orbitally rub away with the sleeve of her coat as if she is going to abrade an escape route through the safety glass. "Just sitting out in the snow!"

"It's not actually precipitating," Uncle Red says, "this is just blowing snow. It is absolutely bone dry, and if you go out and look at the console or whatever you call it, you will find that the snow is not melting on it at all, because it has been sitting out in the U-Stor-It ever since your mother moved to the managed care facility and it has equilibrated to the ambient temperature which I think we can all testify is well below zero Celsius."

Randy crosses his arms over his abdomen, leans his head back, and closes his eyes. The tendons in his neck are as stiff as subzero Silly Putty and resist painfully.

"That console was in my bedroom from the time I was born until I left for college," Aunt Nina says. "By any decent standard of justice, that console is mine.

"Well, that brings me to the breakthrough that Randy and Tom and Geoff and I finally came up with at about two A.M., namely that the perceived economic value of each item, as complicated as that is in and of itself, viz the Knapsack Problem, is only one dimension of the issues that have got us all on such a jagged emotional edge. The other dimension-and here I really do mean dimension in a Euclidean geometry sense-is the emotional value of each item. That is, in theory we could come up with a division of the set of all pieces of furniture that would give you, Nina, an equal share. But such a division might leave you, love, just deeply, deeply unsatisfied because you didn't get that console, which, though it's obviously not as valuable as say the grand piano, has much greater emotional value to you.

"I don't think it's out of the question that I would commit physical violence in order to defend my rightful ownership of that console," Aunt Nina says, suddenly reverting to a kind of dead-voiced frigid calm.

"But that's not necessary, Nina, because we have created this whole setup here just so that you can give your feelings the full expression they deserve!"

"Okay. What do I do?" Aunt Nina says, bolting from the car. Randy and Uncle Red hastily gather up their gloves and mittens and hats and follow her out. She is now hovering over the console, watching the dust of ice swirl across the dark but limpid, virtually glowing surface of the console in the turbulent wake of her body, forming little Mandelbrotian epi-epi-epi-vortices.

"As Geoff and Anne did before us, and the others will do afterwards, we are going to move each of these items to a specific position, as in (x, y) coordinates, in the parking lots. The x axis runs this way," Uncle Red says, facing the Waterhouse House and holding his arms out in a cruciform attitude, "and the y axis this way." He toddles around ninety degrees so that one of his hands is now pointing at the Shaftoes' Impala. "Perceived financial value is measured by x. The farther in that direction it is, the more valuable you think it is. You might even assign something a negative x value if you think it has negative value-e.g., that over stuffed chair over there-which might cost more to re-upholster than it is actually worth. Likewise, the y axis measures perceived emotional value. Now, we have established that the console has extreme emotional value to you and so I think that we can just go right ahead and move it down the line over to where the Impala is located."

"Can something have negative emotional value?" Aunt Nina says, sourly and probably rhetorically.

"If you hate it so much that just owning it would cancel out the emotional benefits of having something like the console, then yes, Uncle Red says.

Randy hoists the console onto his shoulder and begins to walk in a positive y direction. The Shaftoe boys are available to hump furniture at a moment's notice, but Randy needs to mark a bit of territory here, just to indicate that he is not without some masculine attributes himself and so he ends up carrying more furniture than he probably needs to. Back at the Origin, he can hear Red and Nina going at it. "I have a problem with this," Nina says. "What's to prevent her from just putting every thing down at the extreme y axis-claiming that everything is terribly emotionally important to her?" Herin this case can only mean Aunt Rachel, the wife of Tom. Rachel is a multiethnic East Coast urbanite who is not blessed or afflicted with the obligatory Waterhousian diffidence and so has always been regarded as a sort of living incarnation of rapacity, a sucking maw of need. The worst-case scenario here is that Rachel somehow goes home with everything-thegrand piano, the silver, the china, the Gomer Bolstrood dining room set. Hence the need for elaborate rules and rituals, and a booty division system that is mathematically provable as fair.