Dub Term Analysis

As they worked, Case gradually became aware of the music that pulsed constantly through the cluster. It was called dub, a sensuous mosaic cooked from vast libraries of digitalized pop; it was worship, Molly said, and a sense of community. Case heaved at one of the yellow sheets; the thing was light but still awkward. Zion smelled of cooked vegetables, humanity, and ganja.

He closed his eyes. He saw the sacs of toxin dissolving in his arteries. He saw Molly hauling herself up the endless steel rungs. He opened his eyes.

“I dunno, man,” he said, a strange taste in his mouth. He looked down at his desk, at his hands. “I don’t know.” He looked back up. The brown face was calm now, intent. Maelcum’s chin was hidden by the high helmet ring of his old blue suit. “She’s inside,” he said. “Molly’s inside. In Straylight, it’s called. If there’s any Babylon, man, that’s it. We leave on her, she ain’t comin’ out, Steppin’ Razor or not.”

Maelcum nodded, the dreadbag bobbing behind him like a captive balloon of crocheted cotton. “She you woman, Case?”

“I dunno. Nobody’s woman, maybe.” He shrugged. And found his anger again, real as a shard of hot rock beneath his ribs. “Fuck this,” he said. “Fuck Armitage, fuck Wintermute, and fuck you. I’m stayin’ right here.”

Maelcum’s smile spread across his face like light breaking. “Maelcum a rude boy, Case. Garvey Maelcum boat.” His gloved hand slapped a panel and the bass-heavy rocksteady of Zion dub came pulsing from the tug’s speakers. “Maelcum not runnin’, no. I talk wi’ Aerol, he certain t’ see it in similar light.”

Case stared. “I don’t understand you guys at all,” he said.

“Don’ ’stan’ you, mon,” the Zionite said, nodding to the beat, “but we mus’ move by Jah love, each one.”