Title: Blood Music
Author: Greg Bear
Date of First Publication: June 1983
Publisher: Analog Science Fiction Magazine (New York, NY: Davis Publications)
Bibliographic Reference: isfdb
Type: Short story
Keywords: ANDROID; FRANKENSTEIN MONSTER; POSTHUMAN
Critical Summary: In “Blood Music,” Edward Milligan is an OBGYN who went to medical school with another student named Vergil Ulam. Two years later, Vergil visits Edward, looking very different from when they last met: no glasses, straighter teeth, leaner, and tanned. He explains that in his lab job at Genetron, he had been involved in some research involving nucleoproteins that had been engineered to act as tiny computers in order to change the structure of cells. He then began to experiment with injecting the nucleoproteins, and eventually compounded them, into bacteria. These he programmed to improve and multiply, which they did, becoming “smarter.”
Genetron had fired Vergil for his unauthorized work with growing the smart cells, and attempted to destroy it, fearing government interference and potential legal trouble. However, before he left, he injected himself with his nucleoprotein mixture, allowing the tiny molecular computers to assess his own cells and make “improvements.” They began to change the cells in his body, speeding his metabolism, strengthening the structure of his spine to alleviate his back aches, and improving his eyesight. As the nucleoproteins continue to advance, Vergil worries that they may discover his brain and take him over completely, so he tries to use heat lamps to impede their access to his skin. He asks for Edward’s help. Edward examines Vergil and believes him.
Later, Edward urges Vergil to go to the hospital. Vergil now explains that he can “hear” the cells communicating with each other, describing it as music. He has visited Dr. Michael Bernard, a famous scientist at Genetron, who encouraged Vergil to stop using the heat lamp. Vergil shows Edward his skin, which is now criss-crossed with white lines, showing the new channels of cell communication and exploration. They have now reached his brain. Vergil refuses to seek medical attention, insisting that he feels fine, that doctors would be pointless. He no longer seems afraid, but refers to himself as a “super-mother.” He plans to live in the labs of Genetron, under the supervision of Bernard. Edward asks Vergil if he has considered the potential societal effects of his experiments; Vergil has not.
Edward becomes convinced that Bernard’s self-interest will be disastrous, should he get control of Vergil. He returns to Vergil’s apartment, finding him in the bath. He says the nucleoproteins have sent out “scouts,” and jokes about letting them down the drain to explore. Edward, realizing the serious events about to occur, plugs in the heat lamp and drops it into the bath with Vergil, killing him. He sterilizes the tub and decides to come back later to finish cleaning.
Back home, Edward becomes ill, along with his wife, Gail; the two of them become comatose for days as the little computers work from the inside out. The story ends with Edward’s description of himself and Gail as having completely changed bodies. The cells use the plumbing system to infect the other people in the building. He describes a melding of personalities as the new beings spread.
In relation to Frankenstein, Vergil can be seen as Victor Frankenstein, the mad scientist. Rather than creating a being outside of himself, this particular scientist uses his own body, essentially becoming his own “creature.” The combining of engineered cells with human cells eventually leads to a type of singularity; it is implied that not only has the creator lost control of his experiment, but all humans have lost control of their lives and individuality. Thus, humans still exist, but in a posthuman form.
Administrative Notes: Melanie Yogurtian, CSUF. Edited by Adriana Lora and Samuel Ortiz, CSUF