TODAY:
Let's Get This Straight Disappearing into the code: First of two excerpts from Ellen
Ullman's "Close to the Machine."
Elegance and entropy Table Talk - - - - - - - - - -
RECENTLY:
Clicking for Godot Working for Bill Apple's Apostates: Your boss is watching you Sexing the
machine ____________________ |
- - - - - - - - - - - - - - This is the first of two excerpts in Salon 21st from Ellen Ullman's new book, "Close to the Machine: Technophilia and its Discontents" (City Lights Books, $21.95, 189 pp.), an autobiographical exploration of the lives and minds of software engineers. I have no idea what time it is. There are no windows in this office and no clock, only the blinking red LED display of a microwave, which flashes 12:00, 12:00, 12:00, 12:00. Joel and I have been programming for days. We have a bug, a stubborn demon of a bug. So the red pulse no-time feels right, like a read-out of our brains, which have somehow synchronized themselves at the same blink rate. "But what if they select all the text and --" We lock eyes. We barely breathe. For a slim moment, we are together in a universe where two human beings can simultaneously understand the statement "if space is numeric!" Joel and I started this round of debugging on Friday morning. Sometime later, maybe Friday night, another programmer, Danny, came to work. I suppose it must be Sunday by now because it's been a while since we've seen my client's employees around the office. Along the way, at odd times of day or night that have completely escaped us, we've ordered in three meals of Chinese food, eaten six large pizzas, consumed several beers, had innumerable bottles of fizzy water, and finished two entire bottles of wine. It has occurred to me that if people really knew how software got written, I'm not sure if they'd give their money to a bank or get on an airplane ever again. What are we working on? An artificial intelligence project to find "subversive" talk over international phone lines? Software for the second start-up of a Silicon Valley executive banished from his first company? A system to help AIDS patients get services across a city? The details escape me just now. We may be helping poor sick people or tuning a set of low-level routines to verify bits on a distributed database protocol -- I don't care. I should care; in another part of my being -- later, perhaps when we emerge from this room full of computers -- I will care very much why and for whom and for what purpose I am writing software. But just now: no. I have passed through a membrane where the real world and its uses no longer matter. I am a software engineer, an independent contractor working for a department of a city government. I've hired Joel and three other programmers to work with me. Down the hall is Danny, a slim guy in wire-rimmed glasses who comes to work with a big, wire-haired dog. Across the bay in his converted backyard shed is Mark, who works on the database. Somewhere, probably asleep by now, is Bill the network guy. Right now, there are only two things in the universe that matter to us. One, we have some bad bugs to fix. Two, we're supposed to install the system on Monday, which I think is tomorrow. "Oh no, no!" moans Joel, who is slumped over his keyboard. "No-o-o-o ." It comes out in a long wail. It has the sound of lost love, lifetime regret. We've both been programmers long enough to know that we are at that place. If we find one more serious problem we can't solve right away, we will not make it. We won't install. We'll go the terrible, familiar way of all software: we'll be late. "No, no, no, no. What if the members of the set start with spaces. Oh, God. It won't work." He is as near to naked despair as has ever been shown to me by anyone not in a film. Here, in that place, we have no shame. He has seen me sleeping on the floor, drooling. We have both seen Danny's puffy, white midsection -- young as he is, it's a pity -- when he stripped to his underwear in the heat of the machine room. I have seen Joel's dandruff, light coating of cat fur on his clothes, noticed things about his body I should not. And I'm sure he's seen my sticky hair, noticed how dull I look without make-up, caught sight of other details too intimate to mention. Still, none of this matters anymore. Our bodies were abandoned long ago, reduced to hunger and sleeplessness and the ravages of sitting for hours at a keyboard and a mouse. Our physical selves have been battered away. Now we know each other in one way and one way only: the code. Besides, I know I can now give him pleasure of an order which is rare in any life: I am about to save him from despair. "No problem," I say evenly. I put my hand on his shoulder, intending a gesture of reassurance. "The parameters never start with a space." It is just as I hoped. His despair vanishes. He becomes electric, turns to the keyboard and begins to type at a rapid speed. Now he is gone from me. He is disappearing into the code -- now that he knows it will work, now that I have reassured him that, in our universe, the one we created together, space can indeed be forever and reliably numeric. The connection, the shared thought-stream, is cut. It has all the frustration of being abandoned by a lover just before climax. I know this is not physical love. He is too young, he works for me; he's a man and I've been tending toward women; in any case, he's too prim and business-schooled for my tastes. I know this sensation is not real attraction: it is only the spillover, the excess charge, of the mind back into the abandoned body. Only. Ha. This is another real-world thing that does not matter. My entire self wants to melt into this brilliant, electric being who has shared his mind with me for twenty seconds. Restless, I go into the next room where Danny is slouched at his keyboard. The big, wire-haired dog growls at me. Danny looks up, scowls like his dog, then goes back to typing. I am the designer of this system, his boss on this project. But he's not even trying to hide his contempt. Normal programmer, I think. He has 15 windows full of code open on his desktop. He has overpopulated his eyes, thoughts, imagination. He is drowning in bugs and I know I could help him, but he wants me dead just at the moment. I am the last-straw irritant. Talking: Shit! What the hell is wrong with me? Why would I want to talk to him? Can't I see that his stack is overflowing? "Joel may have the overlapping controls working," I say. "Oh, yeah?" He doesn't look up. "He's been using me as a programming dummy," I say. "Do you want to talk me through the navigation errors?" Navigation errors: bad. You click to go somewhere but get somewhere else. Very, very bad. "What?" He pretends not to hear me. "Navigation errors. How are they?" "I'm working on them." Huge, hateful scowl. Contempt that one human being should not express to another under any circumstances. Hostility that should kill me, if I were not used to it, familiar with it, practiced in receiving it. Besides, we are at that place. I know that this hateful programmer is all I have between me and the navigation bug. "I'll come back later," I say. Later: how much later can it get? Daylight can't be far off now. This small shoal of pre-installation madness is washing away even as I wander back down the hall to Joel. "Yes! It's working!" says Joel, hearing my approach. He looks up at me. "You were right," he says. The ultimate one programmer can say to another, the accolade given so rarely as to be almost unknown in our species. He looks right at me as he says it: "You were right. As always." This is beyond rare. Right: the thing a programmer desires above, beyond all. As always: unspeakable, incalculable gift. "I could not have been right without you," I say. This is true beyond question. "I only opened the door. You figured out how to go through." I immediately see a certain perfume advertisement: A man holding a violin embraces a woman at a piano. I want to be that ad. I want efficacies of reality to vanish, and I want to be the man with violin, my programmer to be the woman at the piano. As in the ad, I want the teacher to interrupt the lesson and embrace the student. I want the rules to be broken. Tabu. That is the name of the perfume. I want to do what is taboo. I am the boss, the senior, the employer, the person in charge. So I must not touch him. It is all taboo. Still -- Danny appears in the doorway. "The navigation bug is fixed. I'm going home." "I'll test it --" "It's fixed." He leaves. It is sometime in the early morning. Joel and I are not sure if the night guard is still on duty. If we leave, we may not get back up the elevator. We leave anyway. We find ourselves on the street in a light drizzle. He has on a raincoat, one that he usually wears over his too-prim, too-straight, good-biz-school suits. I have on a second-hand-store leather bomber jacket, black beret, boots. Someone walking by might wonder what we were doing together at this still-dark hour of the morning. "Goodnight," I say. We're still charged with thought energy. I don't dare extend my hand to shake his. "Goodnight, " he says. We stand awkwardly for two beats more. "This will sound strange," he says, "but I hope I don't see you tomorrow." We stare at each other, still drifting in the wake of our shared mind-stream. I know exactly what he means. We will only see each other tomorrow if I find a really bad bug. "Not strange at all," I say, "I hope I don't see you either." NEXT PAGE: "THE OUTWARD MANIFESTATION OF THE MESSINESS OF HUMAN THOUGHT" |
![[Illustration by Bart Nagel]](src/09ullman.gif)
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