Inferno (Robert Langdon #4)

Inferno (Robert Langdon #4) Page 41

Langdon looked startled. “So the human species would essentially undergo an evolution that makes it immune to typhoid, for example?”

“It’s more of an assisted evolution,” Sinskey corrected. “Normally, the evolutionary process—whether it be a lungfish developing feet or an ape developing opposable thumbs—takes millennia to occur. Now we can make radical genetic adaptations in a single generation. Proponents of the technology consider it the ultimate expression of Darwinian ‘survival of the fittest’—humans becoming a species that learns to improve its own evolutionary process.”

“Sounds more like playing God,” Langdon replied.

“I agree wholeheartedly,” Sinskey said. “Zobrist, however, like many other Transhumanists, argued strongly that it is mankind’s evolutionary obligation to use all the powers at our disposal—germ-line genetic mutation, for one—to improve as a species. The problem is that our genetic makeup is like a house of cards—each piece connected to and supported by countless others—often in ways we don’t understand. If we try to remove a single human trait, we can cause hundreds of others to shift simultaneously, possibly with catastrophic effects.”

Langdon nodded. “There’s a reason evolution is a gradual process.”

“Precisely!” Sinskey said, feeling her admiration for the professor growing with each passing moment. “We’re tinkering with a process that took aeons to build. These are dangerous times. We now literally have the capacity to activate certain gene sequences that will result in our descendants having increased dexterity, stamina, strength, even intelligence—essentially a super-race. These hypothetical ‘enhanced’ individuals are what Transhumanists refer to as posthumans, which some believe will be the future of our species.”

“Sounds eerily like eugenics,” Langdon replied.

The reference made Sinskey’s skin crawl.

In the 1940s, Nazi scientists had dabbled in a technology they’d dubbed eugenics—an attempt to use rudimentary genetic engineering to increase the birth rate of those with certain “desirable” genetic traits, while decreasing the birth rate of those with “less desirable” ethnic traits.

Ethnic cleansing at the genetic level.

“There are similarities,” Sinskey admitted, “and while it’s hard to fathom how one would engineer a new human race, there are a lot of smart people who believe it is critical to our survival that we begin that very process. One of the contributors to the Transhumanist magazine H+ described germ-line genetic engineering as ‘the clear next step,’ and claimed it ‘epitomized the true potential of our species.’ ” Sinskey paused. “Then again, in the magazine’s defense, they also ran a Discover magazine piece called ‘The Most Dangerous Idea in the World.’ ”

“I think I’d side with the latter,” Langdon said. “At least from the sociocultural standpoint.”

“How so?”

“Well, I assume that genetic enhancements—much like cosmetic surgery—cost a lot of money, right?”

“Of course. Not everyone could afford to improve themselves or their children.”

“Which means that legalized genetic enhancements would immediately create a world of haves and have-nots. We already have a growing chasm between the rich and the poor, but genetic engineering would create a race of superhumans and … perceived subhumans. You think people are concerned about the ultrarich one percent running the world? Just imagine if that one percent were also, quite literally, a superior species—smarter, stronger, healthier. It’s the kind of situation that would be ripe for slavery or ethnic cleansing.”

Sinskey smiled at the handsome academic beside her. “Professor, you have very quickly grasped what I believe to be the most serious pitfall of genetic engineering.”

“Well, I may have grasped that, but I’m still confused about Zobrist. All of this Transhumanist thinking seems to be about bettering humankind, making us more healthy, curing fatal diseases, extending our longevity. And yet Zobrist’s views on overpopulation seem to endorse killing off people. His ideas on Transhumanism and overpopulation seem to be in conflict, don’t they?”

Sinskey gave a solemn sigh. It was a good question, and unfortunately it had a clear and troubling answer. “Zobrist believed wholeheartedly in Transhumanism—in bettering the species through technology; however, he also believed our species would go extinct before we got a chance to do that. In effect, if nobody takes action, our sheer numbers will kill off the species before we get a chance to realize the promise of genetic engineering.”

Langdon’s eyes went wide. “So Zobrist wanted to thin the herd … in order to buy more time?”

Sinskey nodded. “He once described himself as being trapped on a ship where the passengers double in number every hour, while he is desperately trying to build a lifeboat before the ship sinks under its own weight.” She paused. “He advocated throwing half the people overboard.”

Langdon winced. “Frightening thought.”

“Quite. Make no mistake about it,” she said. “Zobrist firmly believed that a drastic curbing of the human population will be remembered one day as the ultimate act of heroism … the moment the human race chose to survive.”

“As I said, frightening.”

“More so because Zobrist was not alone in his thinking. When Zobrist died, he became a martyr for a lot of people. I have no idea who we’re going to run into when we arrive in Florence, but we’ll need to be very careful. We won’t be the only ones trying to find this plague, and for your own safety, we can’t let a soul know you’re in Italy looking for it.”

Langdon told her about his friend Ignazio Busoni, a Dante specialist, who Langdon believed could get him into Palazzo Vecchio for a quiet after-hours look at the painting that contained the words cerca trova, from Zobrist’s little projector. Busoni might also be able to help Langdon understand the strange quote about the eyes of death.

Sinskey pulled back her long silver hair and looked intently at Langdon. “Seek and find, Professor. Time is running out.”

Sinskey went to an onboard storeroom and retrieved the WHO’s most secure hazmat tube—a model with biometric sealing capability.

“Give me your thumb,” she said, setting the canister in front of Langdon.

Langdon looked puzzled but obliged.

Sinskey programmed the tube so that Langdon would be the only person who could open it. Then she took the little projector and placed it safely inside.

“Think of it as a portable lockbox,” she said with a smile.

“With a biohazard symbol?” Langdon looked uneasy.

“It’s all we have. On the bright side, nobody will mess with it.”

Langdon excused himself to stretch his legs and use the restroom. While he was gone, Sinskey tried to slip the sealed canister into his jacket pocket. Unfortunately it didn’t fit.

He can’t be carrying this projector around in plain sight. She thought a moment and then headed back to the storeroom for a scalpel and a stitch kit. With expert precision, she cut a slit in the lining of Langdon’s jacket and carefully sewed a hidden pocket that was the exact size required to conceal the biotube.

When Langdon returned, she was just finishing the final stitches.

The professor stopped and stared as if she had defaced the Mona Lisa. “You sliced into the lining of my Harris Tweed?”

“Relax, Professor,” she said. “I’m a trained surgeon. The stitches are quite professional.”

CHAPTER 68

Venice’s Santa Lucia Train Station is an elegant, low-slung structure made of gray stone and concrete. It was designed in a modern, minimalist style, with a facade that is gracefully devoid of all signage except for one symbol—the winged letters FS—the icon of the state railway system, the Ferrovie dello Stato.

Because the station is located at the westernmost end of the Grand Canal, passengers arriving in Venice need take only a single step out of the station to find themselves fully immersed in the distinctive sights, smells, and sounds of Venice.

For Langdon, it was always the salty air that struck him first—a clean ocean breeze spiced by the aroma of the white pizza sold by the street vendors outside the station. Today, the wind was from the east, and the air also carried the tang of diesel fuel from the long line of water taxis idling nearby on the turgid waters of the Grand Canal. Dozens of boat captains waved their arms and shouted to tourists, hoping to lure a new fare onto their taxis, gondolas, vaporetti, and private speedboats.

Chaos on the water, Langdon mused, eyeing the floating traffic jam. Somehow, the congestion that would be maddening in Boston felt quaint in Venice.

A stone’s throw across the canal, the iconic verdigris cupola of San Simeone Piccolo rose into the afternoon sky. The church was one of the most architecturally eclectic in all of Europe. Its unusually steep dome and circular sanctuary were Byzantine in style, while its columned marble pronaos was clearly modeled on the classical Greek entryway to Rome’s Pantheon. The main entrance was topped by a spectacular pediment of intricate marble relief portraying a host of martyred saints.

Venice is an outdoor museum, Langdon thought, his gaze dropping to the canal water that lapped at the church’s stairs. A slowly sinking museum. Even so, the potential of flooding seemed inconsequential compared to the threat that Langdon feared was now lurking beneath the city.

And nobody has any idea …

The poem on the back of Dante’s death mask still played in Langdon’s mind, and he wondered where the verses would lead them. He had the transcription of the poem in his pocket, but the plaster mask itself—at Sienna’s suggestion—Langdon had wrapped in newspaper and discreetly sealed inside a self-serve locker in the train station. Although an egregiously inadequate resting place for such a precious artifact, the locker was certainly far safer than carrying the priceless plaster mask around a water-filled city.

“Robert?” Sienna was up ahead with Ferris, motioning toward the water taxis. “We don’t have much time.”

Langdon hurried toward them, although as an architecture enthusiast, he found it almost unthinkable to rush a trip along the Grand Canal. Few Venetian experiences were more pleasurable than boarding vaporetto no. 1—the city’s primary open-air water bus—preferably at night, and sitting up front in the open air as the floodlit cathedrals and palaces drifted past.

No vaporetto today, Langdon thought. The vaporetti water buses were notoriously slow, and water taxi would be a faster option. Unfortunately, the taxi queue outside the train station looked interminable at the moment.

Ferris, in no apparent mood to wait, quickly took matters into his own hands. With a generous stack of bills, he quickly summoned over a water limousine—a highly polished Veneziano Convertible made of South African mahogany. While the elegant craft was certainly overkill, the journey would be both private and swift—a mere fifteen minutes along the Grand Canal to St. Mark’s Square.

Their driver was a strikingly handsome man in a tailored Armani suit. He looked more like a movie star than a skipper, but this was, after all, Venice, the land of Italian elegance.

“Maurizio Pimponi,” the man said, winking at Sienna as he welcomed them all aboard. “Prosecco? Limoncello? Champagne?”

“No, grazie,” Sienna replied, instructing him in rapid-fire Italian to get them to St. Mark’s Square as fast as he possibly could.

“Ma certo!” Maurizio winked again. “My boat, she is the fastest in all of Venezia …”

As Langdon and the others settled into plush seats in the open-air stern, Maurizio reversed the boat’s Volvo Penta motor, expertly backing away from the bank. Then he spun the wheel to the right and gunned the engines forward, maneuvering his large craft through a throng of gondolas, leaving a number of stripe-shirted gondolieri shaking their fists as their sleek black crafts bobbed up and down in his wake.

“Scusate!” Maurizio called apologetically. “VIPs!”

Within seconds, Maurizio had pulled away from the congestion at Santa Lucia Station and was skimming eastward along the Grand Canal. As they accelerated beneath the graceful expanse of the Ponte degli Scalzi, Langdon smelled the distinctively sweet aroma of the local delicacy seppie al nero—squid in its own ink—which was wafting out of the canopied restaurants along the bank nearby. As they rounded a bend in the canal, the massive, domed Church of San Geremia came into view.

“Saint Lucia,” Langdon whispered, reading the saint’s name from the inscription on the side of the church. “The bones of the blind.”

“I’m sorry?” Sienna glanced over, looking hopeful that Langdon might have figured out something more about the mysterious poem.

“Nothing,” Langdon said. “Strange thought. Probably nothing.” He pointed to the church. “See the inscription? Saint Lucia is buried there. I sometimes lecture on hagiographic art—art depicting Christian saints—and it just occurred to me that Saint Lucia is the patron saint of the blind.”

“Sì, santa Lucia!” Maurizio chimed in, eager to be of service. “Saint for the blind! You know the story, no?” Their driver looked back at them and shouted over the sound of the engines. “Lucia was so beautiful that all men have lust for her. So, Lucia, for to be pure to God and keep virginity, she cut out her own eyes.”

Sienna groaned. “There’s commitment.”

“As reward for her sacrifice,” Maurizio added, “God gave Lucia an even more beautiful set of eyes!”

Sienna looked at Langdon. “He does know that makes no sense, right?”

“The Lord works in mysterious ways,” Langdon observed, picturing the twenty or so famous Old Master paintings depicting Saint Lucia carrying her own eyeballs on a platter.