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had put me on the dark dream! I tore off the
headset and the gloves.
    The essence of the dark dream was to make you think you’d taken off the gloves and headset when really you hadn’t. It was like when your alarm clock goes off and you want to keep sleeping, so you dream you’ve woken up and gotten out of bed and turned off the alarm, and then you start dreaming that the continuing noise of the alarm is just something normal like traffic or a leaf blower or a backing truck’s beeper.
    Right before I thought I’d taken off my headset, the dark dream had shown me a perfectly taped and enhanced image of it happening, synced to my movements. It had tricked my hand-eye feedback loop, and like some defective robot, I’d failed to “physically acquire” the headset before I “took it off.”
    You probably think you’d never make a mistake like that, but just try perturbing your mouth-ear feedback loop with, say, a half-second delay. Read a sentence and heaheare ahhself reareading try pt-pt-ry to ... When effects lag too far behind your actions, you enter a blithering state of confusion which cyberspace engineers call feebdack, with “feeb” as in “feebleminded.”
    I jerked my power cord out of the wall. In the dark dream, I’d gotten hold of it all right, but the cord was way longer than the dark dream had shown me, the cord had two coiled loops of slack under my desk and all I’d done was to straighten out a loop’s worth while the dark dream showed the plug popping out of the wall and made the sound of the plug bouncing off the floor.
    I ran down to the kitchen and got a drink of water just to feel something real, then ran back and made sure my machine was really off, grabbed my wallet, took my rack of backup CDs, stepped out of the house and, thank God, Nature was there. No machine’s dark dream could hack the whole world.

TWO
    Gretchen
    O UT IN THE WORLD, IT WAS HALF PAST eleven o’clock of a Monday morning, and there was a trail of real ants running across the porch step where Susan Poker had stood. I sat down next to them, catching my breath. Have you ever studied an ant closely? I sure have.
    Front to rear, an ant’s body has four parts: the head, the alitrunk, the petiole, and the gaster.
    The head bears a pair of large hooked mandibles which have serrations that fit together like teeth. The mouth itself is a complex structure with two small pairs of feelers or palps, though you can’t see the palps when the mouth is closed. The ant’s two big antennae sprout right above the mouth, about where you might expect a nose to be, and the ant’s great compound eyes are on either side of its head, posterior to the antennae. Most of an ant’s “facial expression” comes from the way it holds its antennae. Each antenna is like a pennant on a stick; the “stick” is a long segment called a scape, and coming off the tip of the scape is a segmented “pennant” of
eleven funiculi. When an ant is running along, it holds its scapes forward with the funiculi pressed down to smell out the territory. When an ant is alarmed, it holds its antennae up like a hunting dog’s ears.
    The alitrunk is the ant’s walking machine: it’s an intricate structure bearing three pairs of legs. Each leg has a thigh and shin, and attached to each shin is a thing like a foot, consisting of one long segment followed by four small segments and a terminal claw. The ants have wicked spurs near the back ends of their feet.
    The petiole is small spacer segment between the alitrunk and the gaster, fitted in as neatly as the seat on a motorcycle. The petiole serves as a universal joint.
    After the intricate machineries of the ant’s mouth and legs, the gaster is a cheerful bit of comic relief; nothing more than a fat, elegantly shaped butt with a stinger and a cloaca serving as the gateway for the earth, air, fire, and water of the