Plot Summary
Sailing to Byzantium
Robert Silverberg
Sailing to Byzantium
Fiction | Short Story Collection | Adult | Published in 1967
Plot Summary
Sailing to Byzantium (1985) is a science fiction novella by Robert Silverberg. First published in Asimov’s Science Fiction magazine, it has been reprinted both on its own as a stand-alone work, as well as in anthologies. The novella won the prestigious Nebula Award for Best Novella in 1986 and was nominated for a Hugo Award. The story is set in the fiftieth century, where people live in replicas of ancient, historical, or mythological cities, and they do not work or age. The protagonist, Charles Phillips is from 1984 and has no clue how he ended up in the fiftieth century.
The story begins as Phillips takes his first look at the recreation of the ancient city, Alexandria. In the fiftieth century, there are only ever five cities in the world at any one time, and they are periodically razed so they can build another over it, because, “people saw no point in keeping anything very long.” Currently, the cities are Chang-an, Asgard, New Chicago, Timbuctoo, and Alexandria. The city is beautiful; from his hotel, Phillips can see palaces, temples, monuments, the Library, and the Lighthouse. He can also see fantastic, mythological creatures: there are grazing centaurs in the hills, and sphinxes prowl the streets like alley cats. The few remaining people of the fiftieth century all look alike, even his girlfriend, Gioia—short, lithe, olive-skinned, and appearing between the ages of twelve and twenty. The cities are populated by “temporaries,” artificial constructs that make the cities look populated and do the actual work and maintenance tasks. There is no war, poverty, disease, or aging, and money is no object.
Phillips does not remember who he is or how he got to the fiftieth century. He knows he is from 1984, and he knows that there used to be more cities and people, but everything has changed so drastically in the millennia since. Nevertheless, he never receives any answers to his questions, so he stops asking. He and Gioia decide to see the sights and climb the Lighthouse. Unlike most people, Gioia is enthusiastic and impatient; she wants to see and experience everything. They remain in Alexandria for months, exploring it every day with her friends. They see the zoo, where animals Phillips recognizes are displayed next to unicorns, hippogriffs, and dragons. They visit the Library and all its lost treasures, lush gardens, and markets. At night, they attend parties, where it is evident that Gioia is an outsider and Phillips is a curiosity.
They relocate to Chang-an and are guests of the emperor. While preparing to go to the party, Phillips catches Gioia plucking gray hairs and prodding at tiny wrinkles. He realizes that she is starting to show signs of age, which is weird because her people stay eternally young. They attend a noisy, busy dinner full of food and temporaries serving as entertainers. When it is over, he and Gioia return to their quarters, but in the morning Phillips senses something about her is off. It is revealed that he did not go home with Gioia that night at all, but another woman named Belilala. He learns that it is not unusual for couples to form and travel together, drift apart with other partners, and then reunite later. Eventually, Belilala asks him to go to the new city, Mohenjo-daro, with her. Phillips balks because he and Gioia were supposed to go together and he wants to wait for her. He feels outraged and betrayed when Belilala tells him that Gioia was one of the first to visit the new city when it opened to visitors because she is impatient, like all the short-timers who grow old and die. Normal citizens live as long as they wish, but short-timers do not have that control.
At first, Phillips finds Mohenjo-daro ugly, more like a prison or barracks than the beautiful, graceful cities he is accustomed to visiting. The simmering discontent and loneliness he feels explode to the surface and he accuses Belilala of making him into another curiosity, or novel attraction. They can reconstruct cities from the past, but not the people who lived in them because they would be hard to control and dispose of when the novelty wears off. Phillips, however, is a primitive, emotional side-show that fascinates them because everything about their world is fake. Everything real—including emotions—has long been extinct or destroyed. Belilala seems genuinely sympathetic, and he regrets his outburst.
Phillips finds out that there is a new visitor in the city, a man named Willoughby from Elizabethan England. Phillips feels an echo of the awe towards the man’s speech and mannerisms that the citizens of the fiftieth century must feel toward himself. He tries to explain to Willoughby that he was abducted across time and that the world he knew was gone; Willoughby thinks him mad. Phillips wonders if they will ever send him home, and if they could, would he want to go? He does not remember much of his past life, and life in the fiftieth century is easy. He would miss it.
Phillips decides to find Gioia. In New Chicago, he runs into another visitor from his future, Y’ang-Yeovil. He also finds Gioia, who has aged perceptibly in the time they had been apart. She rejects his offer to spend the rest of their lives together and flees, confusing Phillips. The other visitor explains that Phillips is not aging, despite having spent many years in the fiftieth century. Y’ang Yeovil informs Phillips that he is not real. He is software, an artificial intelligence a step more advanced than the temporaries. He catches up to Gioia in Alexandria and suggests that she visit a programmer. If they can create visitors, why not duplicate a citizen? Gioia resists, because her friends would be cruel, and she would be even more of an outcast. He suggests that he could go to the programmers and ask them to age him at the same rate as her and they could grow old together. Gioia is stunned, thinking the plan is madness, but she agrees to be remade into a visitor so they can live on forever.
The story takes its title from the poem “Sailing to Byzantium” (1926) by William Butler Yeats. Understanding the poem is instrumental to the themes of the novella, which explores complex ideas of immortality and eternity, impermanence, and reality. Phillips is shocked to find out that he is artificial, but eventually realizes that he is still a real, thinking, feeling being.
The story begins as Phillips takes his first look at the recreation of the ancient city, Alexandria. In the fiftieth century, there are only ever five cities in the world at any one time, and they are periodically razed so they can build another over it, because, “people saw no point in keeping anything very long.” Currently, the cities are Chang-an, Asgard, New Chicago, Timbuctoo, and Alexandria. The city is beautiful; from his hotel, Phillips can see palaces, temples, monuments, the Library, and the Lighthouse. He can also see fantastic, mythological creatures: there are grazing centaurs in the hills, and sphinxes prowl the streets like alley cats. The few remaining people of the fiftieth century all look alike, even his girlfriend, Gioia—short, lithe, olive-skinned, and appearing between the ages of twelve and twenty. The cities are populated by “temporaries,” artificial constructs that make the cities look populated and do the actual work and maintenance tasks. There is no war, poverty, disease, or aging, and money is no object.
Phillips does not remember who he is or how he got to the fiftieth century. He knows he is from 1984, and he knows that there used to be more cities and people, but everything has changed so drastically in the millennia since. Nevertheless, he never receives any answers to his questions, so he stops asking. He and Gioia decide to see the sights and climb the Lighthouse. Unlike most people, Gioia is enthusiastic and impatient; she wants to see and experience everything. They remain in Alexandria for months, exploring it every day with her friends. They see the zoo, where animals Phillips recognizes are displayed next to unicorns, hippogriffs, and dragons. They visit the Library and all its lost treasures, lush gardens, and markets. At night, they attend parties, where it is evident that Gioia is an outsider and Phillips is a curiosity.
They relocate to Chang-an and are guests of the emperor. While preparing to go to the party, Phillips catches Gioia plucking gray hairs and prodding at tiny wrinkles. He realizes that she is starting to show signs of age, which is weird because her people stay eternally young. They attend a noisy, busy dinner full of food and temporaries serving as entertainers. When it is over, he and Gioia return to their quarters, but in the morning Phillips senses something about her is off. It is revealed that he did not go home with Gioia that night at all, but another woman named Belilala. He learns that it is not unusual for couples to form and travel together, drift apart with other partners, and then reunite later. Eventually, Belilala asks him to go to the new city, Mohenjo-daro, with her. Phillips balks because he and Gioia were supposed to go together and he wants to wait for her. He feels outraged and betrayed when Belilala tells him that Gioia was one of the first to visit the new city when it opened to visitors because she is impatient, like all the short-timers who grow old and die. Normal citizens live as long as they wish, but short-timers do not have that control.
At first, Phillips finds Mohenjo-daro ugly, more like a prison or barracks than the beautiful, graceful cities he is accustomed to visiting. The simmering discontent and loneliness he feels explode to the surface and he accuses Belilala of making him into another curiosity, or novel attraction. They can reconstruct cities from the past, but not the people who lived in them because they would be hard to control and dispose of when the novelty wears off. Phillips, however, is a primitive, emotional side-show that fascinates them because everything about their world is fake. Everything real—including emotions—has long been extinct or destroyed. Belilala seems genuinely sympathetic, and he regrets his outburst.
Phillips finds out that there is a new visitor in the city, a man named Willoughby from Elizabethan England. Phillips feels an echo of the awe towards the man’s speech and mannerisms that the citizens of the fiftieth century must feel toward himself. He tries to explain to Willoughby that he was abducted across time and that the world he knew was gone; Willoughby thinks him mad. Phillips wonders if they will ever send him home, and if they could, would he want to go? He does not remember much of his past life, and life in the fiftieth century is easy. He would miss it.
Phillips decides to find Gioia. In New Chicago, he runs into another visitor from his future, Y’ang-Yeovil. He also finds Gioia, who has aged perceptibly in the time they had been apart. She rejects his offer to spend the rest of their lives together and flees, confusing Phillips. The other visitor explains that Phillips is not aging, despite having spent many years in the fiftieth century. Y’ang Yeovil informs Phillips that he is not real. He is software, an artificial intelligence a step more advanced than the temporaries. He catches up to Gioia in Alexandria and suggests that she visit a programmer. If they can create visitors, why not duplicate a citizen? Gioia resists, because her friends would be cruel, and she would be even more of an outcast. He suggests that he could go to the programmers and ask them to age him at the same rate as her and they could grow old together. Gioia is stunned, thinking the plan is madness, but she agrees to be remade into a visitor so they can live on forever.
The story takes its title from the poem “Sailing to Byzantium” (1926) by William Butler Yeats. Understanding the poem is instrumental to the themes of the novella, which explores complex ideas of immortality and eternity, impermanence, and reality. Phillips is shocked to find out that he is artificial, but eventually realizes that he is still a real, thinking, feeling being.