Down to Camelot
And moving thro’ a mirror clear
That hangs before her all the year,
Shadows of the world appear.
There she sees the highway near
Winding down to Camelot.
~The Lady of Shalott by Alfred Tennysen
In the highest gneiss cleft of the Roan Highlands, surrounded by outcrops of lichen-covered rock, stood a tower concealed by red-granite slabs.
A forest of fir covered the mountain ridges leading up to this citadel, and at its base was a clearing filled with masses of crimson Rhododendron, red Clay lilies and flaming Azalea. Chiseled out of the tower itself, camouflaged by mica-speckled boulders and flanked by lush ferns, was a stone stoop that led to a recessed and massive, gunmetal gray door.
On the other side of that locked door was a cavernous steel vestibule stacked with crates, boxes, and cartons that had been brought by shadowy figures dressed in khaki fatigues who appeared intermittently from out of the woods. At the far end of the vestible was an elevator that led up to the top of the tower, to the five-room apartment where Elaine worked and lived.
Elaine had not left this keep in many, many years. Sometimes it seemed to her as if she’d always been there, been born and raised and schooled there. Her past seemed reduced to vague dreams about training facilities in Virginia and North Carolina, or lessons about advanced systems and information technology, cybersecurity, and surveillance. She moved from bedroom to bathroom to kitchen to living room to work-station every day in the same way.
She sat in front of a Cray XT5 computing complex, one of three, and skated her eyes along the bank of LCD screens that filled a wall from floor to ceiling across from her. These were her windows to the world outside. In them she could see anywhere, into anything, and look at anyone.
Her orders … her orders … she tried to remember what those might be. She operated by schedule, by habit, by rote.
At one in the morning she placed her operations on auto, dimmed the fluorescents in the ceiling, and left the hundreds of flashing and flickering lights behind her. She invariably walked to her bathroom first to brush her teeth and take her pills. Then she moved to her bedroom where she unzipped her olive-drab coveralls and undressed, then slipped under the white sheets of her bed. At seven in the morning she arose once more, to shower and pull on another pair of clean olive-drabs before eating her breakfast at the small, round chrome table in the kitchen.
She tried to remember who she was; Elaine the universal spider, gathering information, relaying information. She wove massive amounts of facts together and passed them on. To whom, to where, she wasn’t exactly sure. There was network surveillance, corporate surveillance, and social network surveillance. She tracked the trackers, watching Magic Lantern and CIPAV trails, extracting and analyzing data from Carnivore and ECHELON. She monitored systems everywhere. She only knew the world as a reflection, as an image in high definition. She interpreted sensory input by refraction.
“Sentinel Five, Sentinel Five,” her primary communication monitor alerted her in print but not by voice.
“Everything is fine,” she answered aloud.
“Who is the target on camera B6 UK 103310? What is the purpose?…” the system asked with strings of letters in a sans-serif font.
Elaine glanced up and then stared at the designated screen; she saw a young man and a young women making love. She took a sip from her coffee mug. The same one she’d had for … how many years … the exact number eluded her. Which was ironic, she realized. She knew the exact amount of chipsets used by the National Geospatial-Intelligence Agency but she couldn’t remember how many years she’d been in this place. “I need to know,” she said. “What’s going on….”
“You are the one who tells us,” came the response, unfurling like a banner.
She focused her eyes on the sex, the couple, their movements and sounds. “I want to know what’s going on outside.” she said.
“Logistics, security, discipline, threat-reduction,” the monitor blinked.
Elaine stood up, pushing back her chair with an unfamiliar scraping sound. “There is nothing out there,” she murmured. “It’s coming apart.”
She walked to one of her auxiliary keyboards and typed commands, then flicked her fingers on glass. The entire display of LCD monitors abruptly lit up with news programs, talking heads, images from most of the major capital cities of the world. Several focused on chaos and devastation, smoke and fire.
All the screens went green. The monitor in front of her displayed, “You will commence application REPAIR 565 — you will proceed to your bathroom and the medicine cabinet….”
Elaine took a deep breath and turned in place, contemplating, as if seeing for the first time, the technology that surrounded her.
There was a sharp ringing sound. It was harsh and jarring; it took several seconds for Elaine to recall what it was. Somewhere, amidst this most sophisticated and complicated equipment, somewhere there was a telephone. Elaine laughed as she tuned out the noise.
Phrases in extra-large type such as “REFRESH PROTOCOL” and “RESTORE CONTROL….” scrolled left to right on several of her monitors.
Elaine thought about her options. She had never taken the elevator down — if she tried to do so now, she’d be physically stopped by the weapons defense system. There were no windows, there was no other way to leave that she knew of. There was only one thing she could do — pull the plug. She understood how the power grid operated, the locations of junction boxes, the points where the array was weak or blind. It would have to be an instantaneous act, accomplished smoothly without hesitation. She’d be trapped of course, the elevator dead, the front entrance sealed. She wondered how long she could survive until they came to get her. And if someone did show up, would it be to rescue or to terminate her?
She turned to her right, and sauntered calmly in the direction of the closest fuse box that sat just above the floor.
georgelondon
Apologies Rivka, I don’t know how I missed this one but, wow. :-)
I’m tired though and will come back tomorrow to comment properly. Just felt it was criminal it was sitting here un-commented! (Especially with 218 views!)
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georgelondon
Right. Back.
Firstly, I love how sometimes a spark comes that isn’t quite the image and gives us that ‘where the hell did that come from?!’ feeling and a wondering whether this is the story that the writer had to tell this week, almost regardless of the image…
The segue from Tennyson to something mythical-feeling and then into a high-tech world, with an Orwellian Rapunzel snapped out of her obedience to the machine by the sight of a couple making love, was wonderful.
As with many of these short Elephant stories, they could progress to many other things, but I think the key here, to capturing a moment of decision or action which is the fundamental tenet of this story, with just the right amount of context and space to wonder is much more art than science. Well done once again Rivka.
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Rivka Jacobs
Thank you, thank you, thank you! I’m so grateful to you for commenting on this story. I indeed tried something completely new and unusual, but with my full passion and emotion behind it. I guess no one else liked it. I put a lot into it, short as it is, so I really appreciate your comment.
Everything you say is accurate; I tried to show (as the original poem describes after endless years, the Lady first sees Sir Lancelot and “Out flew the web and floated wide; The mirror crack’d from side to side…”)that moment when Elaine wakes up.
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georgelondon
Much as I love this site, I’ve always struggled as a reader to become regular here. I feel that to be properly involved (and this is my definition, nobody else’s) I need to read every day, and preferably comment. I’ve found that as a contributor it’s a little easier because I need to be here a few times each week anyway to check on comments, look at the image, and of course to post something!
The only other period when I’ve written with any regularity was in a community on MySpace where interaction was always quick, playful and insightful and I admit that writing here has freaked me out a little where commenting happens much less.
But please don’t make the assumption that there are few comments because people don’t like it! Much as I relish the detailed responses we give to each others work, I suspect that’s probably as intimidating to some visitors as zero comments! I wouldn’t change it, but I try to keep that in mind when I see just a few (mostly very insightful) comments under the latest thing I’ve written.
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Rivka Jacobs
You make some good points. I’ve seen other fiction sites where commentary is required as part of the process. I’m glad Nick doesn’t make us do this. But all the same, what you say is wise advice. For my part, I should be more timely in MY comments, and not wait weeks later to respond to the work of others, as each of us can use the feedback.
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georgelondon
And back on topic for a moment, I don’t know the Tennyson piece but it still worked for me, so that’s another good thing, right?!
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Rivka Jacobs
Exactly. That’s what I was hoping for; someone may not be familiar with a poem, or especially a song, but the way it’s quoted and used if cited, can contribute greatly to the story.
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Nicolas Papaconstantinou
You should never assume that about the lack of comments, Rivka! This is a lovely piece, as I’ve just discovered. It is a recurringly frustrating fact that commenting culture or community is hard to force.
It’s especially hard with pieces of writing as detailed and refined as yours often are, or as often long as yours and mine are, to work out what to say in a comment. Many people – myself included – feel wrong leaving a hasty or short note of enjoyment without deeper critique on the longer pieces, but of course finding the time to write something sufficient to satisfy ourselves can be hard.
That said, nice work with this piece – a few familiar themes pulled together by a cool central concept make for a pleasing read. While it feels like Elaine’s story doesn’t need to have much more revealed, the world you’ve created holds enough mystery that the brain wants to know more.
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Paty Cockrum
heh…
a sotr of Matrix esque world where the real people are the lovers… out there in Camelot… and the not real , mechanical controllers watch from their sterile little electornic cubbyholes.
Creepy… chilling in it’s concept.
You write such wonderful subtle horror… to take a technolocical strictured non existance into the lush world of mythology, love, passion…rich, fecund…and have that magick awaken the latent humanity of the techno minded.
The horror, of course is how techno minded Elaine has become…sorta like the youngsters of today, I fear… she had lost her humanity… she had lost the magick of life and lived only through the machines. How horrifying… and yet she considered it normal and right for …how long? Even she didn’t know.
How terrifying if this was the real scene behind the mythological Camelot…
oog…
gives me goosebumps and makes me want to look over my shoulder. Ghoulies and ghosties and long leggedity beasties seem friendly compared to the cold horror of technology.
oog…
Paty
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Rivka Jacobs
You pretty much recognized what I was going for. The imagery of the Lady of Shalott is so rich. Thanks once again for the kind comments, feedback, insightful analysis. It is so cool of you!
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