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Zero History

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56. ALWAYS IS GENIUS<br />

Milgrim, on his side in the sleeping bag, on the medicinal-looking white foam, was<br />

caught in some frustrating loop of semi-sleep, slow and circular, in which exhaustion<br />

swung him slowly out, toward where sleep should surely have been, then overshot the<br />

mark somehow, bumping him over into a state of random anxiety that couldn’t quite<br />

qualify as wakefulness, then back out again, convinced of sleep’s promise …<br />

This was, his therapist had told him, on hearing it described, an aftereffect of stress—<br />

excessive fear, excessive excitement—and he was there. That it was the sort of thing that a<br />

normal person could escape with the application of a single tablet of Ativan added a<br />

certain irony. But Milgrim’s recovery, he’d been taught, was dependent on strict<br />

abstinence from the substance of choice. Which was not the substance of choice, his<br />

therapist maintained, but the substance of need. And Milgrim knew that he’d never been<br />

content with a single tablet of anything. It was the very first single tablet, he told himself,<br />

rehearsing these teachings like a rosary, as he swung back out toward the false promise of<br />

sleep, that he was required not to ingest. The others were no problem, because, if he<br />

successfully avoided the first, there were no others. Except for that first one, which, in<br />

potential at least, was always there. Bump. He hit the random anxiety, saw those few<br />

sparks thrown off Foley’s car’s fenders as Aldous drove it back, through that narrow<br />

space.<br />

He tried to recall what he knew about cars, to explain those sparks. They were mostly<br />

plastic now, cars, with bits of metal inside. The surface of the body had been ground<br />

down, he supposed, to a little metal, producing sparks, and then perhaps the metal had<br />

been abraded away … I know that, stupid, his mind told him.<br />

He thought he heard something. Then knew he did. His eyes sprang open in the small<br />

cave of the MontBell, the office faintly illuminated by the dance of abstract shapes on the<br />

screen of the Air.<br />

“Shombo, always,” he heard Voytek say loudly, the accent unmistakable, growing<br />

closer, resentful, “is genius. Shombo is genius coder. Shombo, I will tell you: Shombo<br />

codes like old people fuck.”<br />

“Milgrim,” Fiona called, “hullo, where are you?”

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