He started the tape transport at its high-speed mode, set the module's controls for receive, locked it in at the satellite's operating frequency, checked the wave form on the visual scope to be sure that the carrier was coming in undistorted and then patched into an audio transduction of what he was getting.

The voice of Linda Fox emerged from the strip of drivers mounted above him. As the scope showed, there was no distortion. No noise. No clipping. All channels, in fact, were balanced; his meters indicated that.

Sometimes I could cry myself when I hear her, he thought. Speaking of crying.

Wandering all across this land,

My band.

In the worlds that pass above,

I love.

Play for me you spirits who are weightless.

I believe in drinking to your greatness.

My band.

And, behind Linda Fox's vocal, the vibrolutes which were her trademark. Until Fox no one had ever thought of bringing back that sixteenth-century instrument for which Dowland had written so beautifully and so effectively.

Shall I sue? shall I seek for grace?

Shall I pray? shall I prove?

Shall I strive to a heavenly joy

With an earthly love?

Are there worlds? Are there moons

Where the lost shall endure?

Shall I find for a heart that is pure?

These remasterings of the old lute songs, he said to himself; they bind us. Some new thing, for scattered people as flung as if they had been dropped in haste: here and there, disarranged, in domes, on the backs of miserable worlds and in satellites and arks-victimized by the power of oppressive migration, and with no end in sight.

Now the Fox was singing one of his favorites:

Silly wretch, let me rail

At a voyage that is blind.

Holy hopes do require

A flurry of static. Herb Asher grimaced and cursed; the next line had been effaced. Damn, he thought.

Again the Fox repeated the lines.

Silly wretch, let me rail

At a voyage that is blind.

Holy hopes do require

Again the static. He knew the missing line. It went:

Greater find.

Angrily, he signaled the source to replay the last ten seconds of its transmission; obligingly, it rewound, paused, gave him the signal back, and repeated the quatrain. This time he could make out the final line, despite the eerie static.

Silly wretch, let me rail

At a voyage that is blind.

Holy hopes do require

Your behind.

"Christ!" Asher said, and shut his tape transport down. Could he have heard that? "Your behind"?

It was Yah. Screwing up his reception. This was not the first time.

The local throng of Clems had explained it to him when the interference had first set in several months ago. In the old days before humans had migrated to the CY3O-CY3OB star system, the autochthonic population had worshiped a mountain deity named Yah, whose abode, the autochthons had explained, was the little mountain on which Herb Asher's dome had been erected.

His incoming microwave and psychotronic signals had gotten cooked by Yah every now and then, much to his displeasure. And when no signals were coming in, Yah lit up his screens with faint but obviously sentient driblets of information. Herb Asher had spent a long time fussing with his equipment, trying to screen out this interference, but with no success. He had studied his manuals and erected shields, but to no avail.

This, however, was the first time that Yah had wrecked a Linda Fox tune. Which, as far as Asher was concerned, put thematter over a crucial line.

The fact of the matter was, whether it was healthy or not, he was totally dependent on the Fox.

He had long maintained an active fantasy life dealing with the Fox. He and Linda Fox lived on Earth, in California, at one of the beach towns in the Southland (unspecified beyond that). Herb Asher surfed and the Fox thought he was wonderful. It was like a living commercial for beer. They had campouts on the beach with their friends; the girls walked around nude from the waist up; the portable radio was always tuned to a twenty-four-hour no-commercials-at-all rock station.

However, the truly spiritual was what mattered most; the topless girls at the beach were simply-well, not vital but pleasant. The total package was highly spiritual. It was amazing how spiri- tual an elaborated beer commercial could get.

And, at the peak of it all, the Dowland songs. The beauty of the universe lay not in the stars figured into it but in the music generated by human minds, human voices, human hands. Vibrolutes mixed on an intricate board by experts, and the voice of Fox. He thought, I know what I must have to keep on going. My job is my delight: I transcribe this and I broadcast it and they pay me. 'This is the Fox," Linda Fox said.

Herb Asher switched the video to holo, and a cube formed in which Linda Fox smiled at him. Meanwhile, the drums spun at furious speed, getting hour upon hour into his permanent possession.

"You are with the Fox," she declared, "and the Fox is with you." She pinned him with her gaze, the hard, bright eyes. The diamond face, feral and wise, feral and true; this is the Fox / Speaking to you. He smiled back.

"Hi, Fox," he said.

"Your behind," the Fox said.

--------------

Well, that explained the soupy string music, the endless Fiddler on the Roof. Yah was responsible. Herb Asher's dome had been infiltrated by the ancient local deity who obviously be- grudged the human settlers the electronic activity that they had brought. I got bugs all in my meal, Herb Asher thought, and I got deities all in my reception. I ought to move off this mountain. What a rinky-dink mountain it is anyhow-no more, really, than a slight hill. Let Yah have it back. The autochthons can start serving up roasted goat meat to the deity once more. Except that all the autochthonic goats had died out, and, along with them, the ritual.

Anyhow his incoming transmission was ruined. He did not have to replay it to know. Yah had cooked the signal before it reached the recording heads; this was not the first time, and the contamination always got onto the tape.

Thus I might as well say fuck it, he said to himself. And ring up the sick girl in the next dome.

He dialed her code, feeling no enthusiasm.

It took Rybys Rommey an amazingly long time to respond to his signal, and as he sat noting the signal-register on his own board he thought, Is she finished? Or did they come and forcibly evacuate her? His microscreen showed vague colors. Visual static, nothing more. And then there she was.

"Did I wake you up?" he said. She seemed so slowed down, so torpid. Perhaps, he thought, she's sedated.

"No. I was shooting myself in the ass."

"What?" he said, startled. Was Yah screwing him over once again, cooking his signal? But she had said it, all right.

Rybys said, "Chemotherapy. I'm not doing too well."

But what an uncanny coincidence, he thought. Your behind and shooting myself in the ass. I'm in an eerie world, he thought. Things are behaving funny.

"I just now taped a terrific Linda Fox concert," he said. "I'll be broadcasting it in the next few days. It'll cheer you up."

Her slightly swollen face showed no response. "It's too bad we're stuck in these domes. I wish we could visit one another. The foodman was just here. In fact he brought me my medication. It's effective but it makes me throw up."

Herb Asher thought, I wish I hadn't called.

"Is there any way you could visit me?" Rybys said.

"I have no portable air, none at all." It was of course a lie.

"I have," Rybys said.

In panic he said, "But if you're sick-"

"I can make it over to your dome."

"What about your station? What if data come in that-"

"I've got a beeper I can bring with me." Presently he said, "OK."