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"What we're doing pop culturally is like burning the rain forest. The biodiversity of pop culture is really, really in danger."
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Eventually, the bubble-like structure was fully inflated:
Under ideal conditions, the inside of the great bubble was soon a mass of growing things. Rose had planted flowers—to be admired, and to help out the hive of bees, which were essential to some of the other plants, as well. Nor was the flora limited to the Earthly. Some seeds or spores had survived, here, from the mother world of the asteroids...
Sometimes John Endlich was misled. Sometimes, listening to familiar sounds, and smelling familiar odors, toward the latter part of his reprieve, he almost imagined that he'd accomplished his basic desires here on Vesta—when he had always failed on Earth.
There was the smell of warm soil, flowers, greenery. He heard irrigation water trickling. The sweetcorn rustled in the wind of fans he'd set up to circulate the air. Bees buzzed. Chickens, approaching adolescence, peeped contentedly as they dusted themselves and stretched luxuriously in the shadows of the cornfield.
For John Endlich it was all like the echo of a somnolent summer of his boyhood. There was peace in it: it was like a yearning fulfilled. An end of wanderlust for him, here on Vesta. In contrast to the airless desolation outside, the interior of this five-acre greenhouse was the one most desirable place to be.
Compare to the spaceship garden from The Heritage of the Earth (1932) by Harley S. Aldinger,
Martian sawgrass from QRM - Interplanetary (1942) by George O. Smith,
bubbleworld from At the Bottom of a Hole (1966) by Larry Niven, the
lunar greenhouse tunnel from The Moon is a Harsh Mistress (1966) by Robert Heinlein and
lifezones from Tides of Light (1989) by Gregory Benford. Comment/Join this discussion ( 0 ) | RSS/XML | Blog This | Additional
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