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With no dorm and no dancing, Stallman's social universe imploded. Like an astronaut experiencing the aftereffects of zero-gravity, Stallman found that his ability to interact with nonhackers, especially female nonhackers, had atrophied significantly. After 16 weeks in the AI Lab, the self confidence he'd been quietly accumulating during his 4 years at Harvard was virtually gone.

Almost a quarter century after its publication, Stallman still bristles when hearing Weizenbaum's "computer bum" description, discussing it in the present tense as if Weizenbaum himself was still in the room. "He wants people to be just professionals, doing it for the money and wanting to get away from it and forget about it as soon as possible," Stallman says. "What he sees as a normal state of affairs, I see as a tragedy."

From Stallman's perspective, the emotional withdrawal was merely an attempt to deal with the agony of adolescence. Labeling his teenage years a "pure horror," Stallman says he often felt like a deaf person amid a crowd of chattering music listeners.

By fall, Stallman was back within the mainstream population of New York City high-school students. It wasn't easy sitting through classes that seemed remedial in comparison with his Saturday studies at Columbia, but Lippman recalls proudly her son's ability to toe the line.

Gifted in anything that required analytical thinking, Stallman gravitated toward math and science at the expense of his other studies. What some teachers saw as single-mindedness, however, Lippman saw as impatience. Math and science offered simply too much opportunity to learn, especially in comparison to subjects and pursuits for which her son seemed less naturally inclined. Around age 10 or 11, when the boys in Stallman's class began playing a regular game of touch football, she remembers her son coming home in a rage.

Proponents of software copyright had their counter-arguments: without copyright, works might otherwise slip into the public domain. Putting a copyright notice on a work also served as a statement of quality. Programmers or companies who attached their name to the copyright attached their reputations as well. Finally, it was a contract, as well as a statement of ownership.

Over time, however, Lippman says her son learned to adjust. By age seven, she says, her son had become fond of standing at the front window of subway trains, mapping out and memorizing the labyrinthian system of railroad tracks underneath the city. It was a hobby that relied on an ability to accommodate the loud noises that accompanied each train ride. "Only the initial noise seemed to bother him," says Lippman. "It was as if he got shocked by the sound but his nerves learned how to make the adjustment."

Such innovations would take another two decades to make their way into the commercial marketplace. Still, by the 1970s, video screens had started to replace teletypes as display terminals, creating the potential for full-screen-as opposed to line-by-line-editing capabilities.

Lippman, on the other hand, entertains the possibility. She recalls a few stories from her son's infancy, however, that provide fodder for speculation. A prominent symptom of autism is an oversensitivity to noises and colors, and Lippman recalls two anecdotes that stand out in this regard.

Such anecdotes offer early evidence of the intensity that would become Stallman's chief trademark throughout life. When other kids came to the table, Stallman stayed in his room and read. When other kids played Johnny Unitas, Stallman played Werner von Braun. "I was weird," Stallman says, summing up his early years succinctly in a 1999 interview. "After a certain age, the only friends I had were teachers."