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piercing as a needle, cried out for food, and Lunzie flinched. The alto’s voice replying held all history’s bitterness.

Surely it had not really been this bad! It could not have been! The rigid arm of the man beside her insisted it was, it had been. He believed it so, at least, and he believed the future might be as bleak. Lunzie swallowed, fighting nausea. If they actually showed cannibalism onstage . . . but they did not. A chorus of grieving women, of hungry children. One suggested, the others cried out in protest, and this went on (as so often in operas) somewhat longer than. was necessary to convince everyone that both sides were sincere.

One after another came over to the side of horror, for the children’s sake, but it was, in the end, a child who raised a shaking arm to point at the new element in the crisis. The new element, presented onstage as a fur-coated robot of sorts, was the native grazer of the tundra. Shaggy, uncouth, and providentially stupid, it had been drawn by the warmth of the colonists’ huts from its usual path of migration. The same woman who had been ready to put the dead into a synthesizer now wrestled the shaggy beast and killed it: not without being gored by two of its six horns. Whereupon the survival of the colony was assured so long as they were willing to kill and eat the animals.

One alone stood fast by the Federation’s prohibition, and threatened to reveal what they’d done. She was prevented from sending any message and died by her own hand after a lengthy aria explaining why she was willing to kill not only herself but her unborn child.

“That none of my blood shed sentient blood, so precious is to me ...”

Lunzie found herself more moved by this than she had expected. Whether it was true or not, whether it had happened at all, or for these reasons, the story itself commanded respect and pity. And it explained a lot about the heavyworlders. If you believed this, if you had grown up seeing this, hearing this gorgeous music put to the purpose of explaining that the lightweights would let forty thousand people die of cold and starva-

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tion because it was inconvenient to rescue them, because it would lower the profit margin, then you would naturally distrust the lightweights, and despise their dietary whims.

Would I have eaten meat even after it had been through the synthesizer? she asked herself. She let herself remember being pregnant, and the years when Fiona had been a round-faced toddler. She would not have let Fiona starve.

In a grand crashing conclusion, the lightweights returned in a warm season to remonstrate with the colonists about their birthrate and their eating habits. The lead soprano, now white-haired and many times a grandmother, the children clustered around her as she sang, told them off in ringing phrases, dizzying swoops of melody that seemed impossible to bring from one throat. The colonists repudiated the lightweights’ claims, refused to submit to their rules, their laws, demanded justice in the courts or they would seek it in their own way.

The lightweights flourished weapons and two heavyweights lifted them contemptuously overhead, tossing them—the smallest cast members Lunzie had yet seen— until they tumbled shaken to the ground. Then the two picked up the “spaceship,” stuffed the lightweight emissaries inside, and threw the whole assemblage into space. Or so it appeared. Actually, Lunzie was sure, some stage mechanism pulled it up out of sight. Curtain down! Lights up! Zebara turned to her. “Well? What do you think of Zilmach?” Then his blunt finger touched her cheek. “You cried.”

“Of course I did.” Her voice was still rough with emotion. To her own ears she sounded peevish. “If that’s true . . .” She shook her head, started again. “It’s magnificent, it’s terrible, and tears are the only proper response.” What she wanted to say would either start a riot or make no sense. She said, “What voices! And to think I’ve never heard of this. Why isn’t it known?”

“We don’t export this. It’s just our judgment that your people would have no interest in it.” “Music is music.” “And politics is politics. Come! Would you like to