ROBERT SILVERBERG’s many novels include The Man in the Maze, The Alien Years, and Up the Line; the most recent volume in the Majipoor Cycle, The King of Dreams; the bestselling Lord Valentine trilogy; and the classics Dying Inside and A Time of Changes. He has been nominated for the Nebula and Hugo awards more times than any other writer; he is a five-time winner of the Nebula and a five-time winner of the Hugo.
KAREN HABER is the critically acclaimed editor of Meditations on Middle Earth, the Hugo Award-nominated collection of essays examining the works of J.R.R. Tolkien, and the forthcoming Exploring The Matrix. She also created The Mutant Season series of novels, and co-wrote the bestselling The Science of the X-Men. She is a respected journalist and an accomplished fiction writer. Her short fiction has appeared in The Magazine of Fantasy and Science Fiction, Full Spectrum 2, and Women of Darkness.
“Our Friend Electricity,” by Ron Wolfe. Copyright © 2002 by Ron Wolfe. First published in The Magazine of Fantasy and Science Fiction, June 2002. Reprinted by permission of the author. • “King Rainjoy’s Tears,” by Chris Willrich. Copyright © 2002 by Spilogale, Inc. First published in The Magazine of Fantasy and Science Fiction, July 2002. Reprinted by permission of the author. • “Social Dreaming of the Frin,” by Ursula K. Le Guin. Copyright © 2002 by Ursula K. Le Guin. First published in The Magazine of Fantasy and Science Fiction, Oct.-Nov. 2002. Reprinted by permission of the author and the author's agent, the Virginia Kidd Literary Agency, Inc. • “Agamemnon’s Run,” by Robert Sheckley. Copyright © 2002 by Robert Sheckley. First published in The DAW 30th Anniversary Anthology. Reprinted by permission of the author. • “Creation,” by Jeffrey Ford. Copyright © 2002 by Jeffrey Ford. First published in The Magazine of Fantasy and Science Fiction, May 2002. Reprinted by permission of the author. • “The Face of an Angel,” by Brian Stableford. Copyright © 2002 by Brian Stableford. First published in Leviathan 3. Reprinted by permission of the author. • “Dating Secrets of the Dead,” by David Prill. Copyright © 2002 by David Prill. First published in The Magazine of Fantasy and Science Fiction, June 2002. Reprinted by permission of the author. • “Luck,” by James Patrick Kelly. Copyright © 2002 by James Patrick Kelly. First published in Isaac Asimov’s Science Fiction Magazine, June 2002. Reprinted by permission of the author. • “The Majesty of Angels,” by Robert Reed. Copyright © 2002 by Spilogale, Inc. First published in The Magazine of Fantasy and Science Fiction, September 2002. Reprinted by permission of the author. • “Ailoura,” by Paul di Filippo. Copyright © 2002 by Paul di Filippo. First published in Once Upon a Galaxy,. Reprinted by permission of the author. • “Mr. Gaunt,” by John Langan. Copyright © 2002 by John Langan. First published in The Magazine of Fantasy and Science Fiction, September 2002. Reprinted by permission of the author.
All rights reserved, including the right to reproduce this book or portions thereof in any form whatsoever. Distributed by Simon & Schuster, Inc. 1230 Avenue of the Americas, New York, NY 10020
Here is the second in an annual series of collections of the best fantasy short stories of the year—the latest contributions, ingenious and inventive, to this most ancient of all manifestations of the human mind at play.
I loved Tori. Tori loved Coney Island. The moral is such an old one, maybe you know it already.
Don’t take any wooden nickels.
Our first time at Coney, I guessed Tori liked slumming. Anything Tori liked was fine with me. Especially when we got there, it was fine with me. The place did something for her, made her the ballerina of the boardwalk.
We met cute. Doesn’t everybody?
Roses. I sent her white roses on Monday. She called; I called; she called. We had lunch on Wednesday, a quick bite.
Tori had warned me she might be late; she expected some buyers who liked to haggle at the last minute.
Mermaid Avenue welcomed us with its offers of saltwater taffy, beer, and body-piercing, pawn shops, gun shops. Dim lights shone in old windows above the striped and rusted awnings.
Coney Island was a different world in the dark, too bright and too shadowed. It left me straining to recognize anything I’d seen before. A mist of raindrops fell and passed, cleansing no part of the night.
We drove to my apartment in the East Village, listening to cool jazz on the Panhard and Levassor’s Bose FM stereo. A parking space was waiting for us. It was that kind of night.
I used to collect bad writing to share with friends, mostly other bottom-feeders in genre book and magazine fiction. Six or eight of us had a regular beer night at Tad’s Tap on Bleecker Street. We called it the Pen and Pitcher Club.
We dripped and squeaked our way up the two flights of stairs to my apartment. As my key clicked the lock, I suddenly wished the door wouldn’t open.
In the wee small hours of later, I woke to find Tori sobbing. I kissed her neck. I kissed a warm tear. “I don’t care…,” I said. “He doesn’t matter.”
“Mr. Vogler, this is Sara in library reference. I found the expression you asked about, and it means what you thought. But it’s short for an even older saying—one that dates back to Pliny the Elder, the Roman author. Also, it became the motto of the Malatesta family, the tyrants of Rimini, Italy, in the Middle Ages. They believed it justified the criminal behavior that kept their family in power. Elephas indus culices non timet. ‘The Indian elephant does not fear the mosquito.’ It means, in context, ‘does not fear to crush the insect.’”
So, Mr. Vogler, Mr. Important Book Editor, you with the hollow eyes in the mirror, tell me all about yourself.
It was noon when I began searching for her on the subway platform over Surf Avenue. I stood there, grinning for a moment, as if she might come to meet me, carrying a picnic basket with a calico cloth.
I have to tell you. This isn’t the place, but you need to know. If I were editing this manuscript, I would mark an “X” here and write in the margin: “author intrusion,” meaning the author has barged in like a gatecrasher, spoiling the story. But this can’t wait. You’ll know why.
Luna Park fell to darkness as completely as, moments before, it had been incredibly illuminated. The cries were like those of primitives in the grip of a solar eclipse.
I don’t know when Luna’s lights came back. But I know this:
One night, the old Pen and Pitcher Club voted the worst cliche in science fiction. The rose in his hand swept the field. A man goes to sleep; he dreams of a rose; he wakes up with a rose in his hand.
—Make an ACTIVITY BOX. Include a Skee-Ball, a gold coin and a wooden nickel. Challenge your class to discover how these things explain the workings of time.
—FIELD TRIP: Visit a nearby carnival or amusement park. Do the rides look safe?
—Quiz ANSWERS:
1: (A) 6,600 volts to kill an elephant; 2,000 for a man.
2: (B) TRUE. Thought is electric.
3: (C) NONE OF THE ABOVE. So far as we know, lightning strikes without a thought.
If he breathed, I couldn’t see it. People can die from the delayed effects of a concussion.
A king of Swanisle delights in rue
And his name’s a smirking groan.
Laughgloom, Bloodgrin, Stormproud we knew
Before Rainjoy took the throne.
It was sunset in Serpenttooth when Persimmon Gaunt hunted the man who put oceans in bottles.
The town crouched upon an islet off Swanisle’s west coast, and scarlet light lashed it from that distant (but not unreachable) place where the sunset boiled the sea. The light produced a striking effect, for the people of Serpenttooth were the desperate and outcast, and they built with what they found, and what they found were the bones of sea serpents. And at day’s end it seemed the gigantic, disassembled beasts struggled again toward life, for a pale, bloody sheen coated the town’s archways, balustrades, and rooftops. Come evening the illusion ceased, and the bones gave stark reflection to the moon.
“The first is found,” sighed the man upon the ivory chair.
The journey to Lornbridge took two weeks, but they felt like two years to the thief Imago Bone.
“The second is found,” said the king in the room of mists.
Nightswan Abbey formed the outline of a soaring bird, and although its crumbling bulk no longer suggested flight of any kind, the music pouring from its high windows did much to compensate.
A storm frothed against King Rainjoy’s palace, and the hall of mists felt like a ship deck at foggy dawn. Salt, Mist, and Scald stepped toward the ivory throne, knelt beside the swan pool. Behind the Pale Council stood Persimmon Gaunt and Imago Bone.
On the Frinthian Plane dreams are not private property. There is no such thing as a dream of one’s own. A troubled Frin has no need to lie on a couch recounting dreams to a psychoanalist, for the doctor already knows what the patient dreamed last night, because the doctor dreamed it too; and the patient also dreamed what the doctor dreamed; and so did everyone else in the neighborhood.
To escape from the dreams of others or to have a secret dream, the Frin must go out alone into the wilderness. And even in the wilderness, their sleep may be invaded by the strange dream-visions of lions, antelope, bears, or mice.
Even on Our Plane, young children often have trouble understanding that the experiences they had just before they woke up aren’t “real.” It must be far more bewildering for Frinthian children, into whose innocent sleep enter the sensations and preoccupations of adults—accidents relived, griefs renewed, rapes reenacted, wrathful conversations with people fifty years in the grave. But adult Frin are ready to answer children’s questions about the shared dreams and to discuss them, defining them always as dream, though not as unreal. There is no word corresponding to “unreal” in Frinthian; the nearest is “bodiless.” So the children learn to live with adults’ incomprehensible memories, unmentionable acts, and inexplicable emotions, much as do children who grow up on our plane amid the terrible incoherence of civil war or in times of plague and famine; or, indeed, children anywhere, at any time. Children learn what is real and what isn’t, what to notice and what to ignore, as a survival tactic, a means of staying alive. It is hard for an outsider to judge, but my impression of Frinthian children is that they mature early, psychologically; and by the age of seven or eight they are treated by adults as equals.
Agamemnon was desperate. Aegisthus and his men had trapped him in Clytemnestra’s bedroom. He could hear them stamping through the hallways. He had climbed out a window and made his way down the wall clinging by his fingernails to the tiny chiseled marks the stonecutters had left in the stone. Once in the street, he thought he’d be all right, steal a horse, get the hell out of Mycenae. It was late afternoon when he made his descent from the bedroom window. The sun was low in the west, and the narrow streets were half in shadow.
He thought he had got away free and clear. But no: Aegisthus had posted a man in the street, and he called out as soon as Agamemnon was on the pavement.
Just that morning he had ridden into the city in triumph. It was hateful, how quickly things could fall apart.
It had never been easy to get out of Mycenae. The city’s heart was a maze of narrow streets and alleys. The district he was in, close to the palace, had an Oriental look—tiny shops on twisting streets. Many of the shopkeepers wore turbans. Agamemnon had never researched the life of the ancient Greeks, but he supposed this was accurate. The creators of the lottery did what they did for a reason.
There were four corpses on the floor. The doctor had just passed away. Pyliades was dead, but with a grin on his face. Agamemnon hoped it was a grin of triumph rather than the sardonic grin of the plague victim.
He was indeed outside. Not even in Mycenae. He was sitting on a boulder on a low, marshy shore. There was a river in front of him. Its waters were black, sleek, oily. It appeared to be twilight or early evening. The sun was nowhere in sight, although it had been afternoon when all this began. There were no stars in the darkness, no light anywhere. Yet he could see. Some distance ahead of him, on a low ridge of rock poking out of the mud, there were four figures. Agamemnon thought he knew who they were. In the gloom he could also make out a sort of dock on the shore beyond the four figures. A long, low boat was tied to one of its pillars, and a man was standing in it.
Agamemnon and the others got on Charon’s boat. It was narrow, with two rows of built-in benches facing each other. Agamemnon and Pyliades sat on one side, the two soldiers on the other, and the doctor, after a moment’s hesitation, sat on a little bench in front of a shelter cabin, at right angles to the benches. Charon untied the mooring line and pushed the boat away from the dock. Once free, he set a steering oar in place, and stood on the decked stern and began to gently scull the boat.
He walked through pleasant meadowlands, with cattle grazing in the distance. These, he had been told, were part of Helios’ herd, which were always straying into this part of Hades, where the grass was greener.
Agamemnon set out again in the direction Tantalus had indicated. He went across a high upland path, and saw below a pleasant grove of pine trees. There were a dozen or so men and women in white robes, strolling around and engaging in animated conversation.
Agamemnon passed through a little wood. He noticed it was brighter here than in the other parts of Hades he had visited. Although no sun was visible, there was a brightness and sparkle to the air. He figured he was in one of the better parts of the underworld. He was not entirely surprised when he saw, ahead of him, a table loaded with food and drink, and a masked man in a long cloak sitting at it, with an empty chair beside him.
Agamemnon got up and walked in the direction Tiresias had indicated. When he looked back, the magician was gone. Had he been there in the first place? Agamemnon wasn’t sure. The indirections of the lottery were bad enough. But when you added magic…
Agamemnon had been prepared for a precipitous passage downward, but not for the circling movement he underwent as the tube spiraled in its descent. It was dark, and he could see no light from either end. He was moving rapidly, and there seemed nothing he could do to hasten or slow his progress. He was carried along by gravity, and his fear was that his wife and daughter would enter the tube in pursuit of him. He thought that would be more than he could bear.
And he came out on a corner of a small south Texas town. There was José, standing beside the pickup parked in front of the general store. José gasped when he saw Chris. For a moment he was frozen. Then he hurried over to him. “Senor Chrees! Is it you?” There were hugs, embraces. When he’d left for the lottery and distant places, he’d left them to run the ranch. Make what they could out of it. But it was still his ranch, and he was home. Maria said, “I make your favorite, turkey mole tonight!” And then she talked about their cousins in Mexico, some of whom he’d known as a boy.
After dinner, Chris went into the front room and lay down on the old horsehair sofa. It was deliciously comfortable, and the smells were familiar and soothing. He drifted into sleep, and knew that he was sleeping. He also knew when the dream began: it was when he saw the tall, robed figure of Tiresias.
Chris woke up with a start. The dream of Tiresias had been very real. But it was over now, and he was back at his Texas ranch. He sat up. It was evening. It had turned cold after the sun went down. He got up. Hearing his footsteps, Maria came running in from the kitchen. She was carrying his old suede jacket.
He couldn’t know it, not at that time, that a man in a yellow buffalo-hide coat had gone to the local branch of Thomas Cook and put in a payment. He had it directed to the Infernal Account. The clerk had never heard of that account, but when he checked with the manager, there it was.
I learned about Creation from Mrs. Grimm, in the basement of her house around the corner from ours. The room was dimly lit by a stained-glass lamp positioned above the pool table. There was also a bar in the corner, behind which hung an electric sign that read Rheingold and held a can that endlessly poured golden beer into a pilsner glass that never seemed to overflow. That brew was liquid light, bright bubbles never ceasing to rise.
“Who made you?” she would ask, consulting that little book with the pastel-colored depictions of agony in hell and the angel-strewn clouds of heaven. She had the nose of a witch, one continuous eyebrow, and tea-cup-shiny skin—even the wrinkles seemed capable of cracking. Her smile was merely the absence of a frown, but she made candy apples for us at Halloween and marshmallow bricks in the shapes of wise men at Christmas. I often wondered how she had come to know so much about God and pictured saints with halos and cassocks playing pool and drinking beer in her basement at night.
When Mrs. Allison had gone, taking the photo-quality A4 sheet from the printer with her, Hugo Victory took another look at the image on his computer screen, which displayed her face as it would appear when the surgery she had requested had been carried out.
The software Victory used to perform that task had started out as a standard commercial package intended as much for advertisement purposes as to assist him to plan his procedures, but he had modified it considerably in order to take aboard his own innovations and the idiosyncrasies of his technique. Like all great artists, Victory was one of a kind; no other plastic surgeon in the world plied his scalpels with exactly the same style. He had been forced to learn programming in order to reconstruct the software to meet his own standards of perfection, but he had always been prepared to make sacrifices in the cause of his art.
Even at a mere thirteen weeks old, the child—to whom Gwynplaine referred as Dust—was as hideous as his guardian, although his ugliness was very different in kind. The baby had never been burned in a fire; the distortion of his features was partly due to a hereditary dysfunction and partly to the careless use of forceps by the midwife who had delivered him, presumably in some Eastern European hellhole.
In the years that followed, Hugo Victory’s skill and fame increased considerably. He was second to none as a pioneer in the fast-advancing art of plastic surgery, and he forced tabloid headline-writers to unprecedented excesses as they sought to wring yet more puns from his unusually helpful name. He lacked nothing—except, of course, for the one thing he wanted most of all: Gwynplaine’s book.
The Monsignor was a small dark man dressed in black-and-purple clerical garb. Meg took his cape and his little rounded hat away with her when she had shown him to his chair.
In the wake of Torricelli’s visit Victory returned to his computer model with renewed zest. There was so much obvious nonsense in what the priest had told him that there was no real reason to believe the assurance that he was only one step short of being able to reproduce—at least on paper—the face of Adam, but Victory had no need of faith to season his curiosity. He felt that he was, indeed, close to that particular goal, and the feeling was enough to lend urgency to his endeavours.
Gwynplaine sat languidly in the chair, a perfect exhibition of patience, while Victory’s busy fingers flew over the keyboard and clicked the mouse again and again, weaving the final ingredient into the model that would reproduce the face of Adam when the programme was run.
It was not until Meg arrived at half past eight that Victory had the opportunity to assess the full extent of the change that had come over him, but once the evidence was before him he understood its consequences easily enough.
Hey, Jerry, there’s THAT new girl.
Oh, yes. Her name’s Caroline May Ames. She’s a swell kid.
Jerry’s place was in bad need of a dusting.
Thumb sat on a rock, soothing his sore feet in the river, in no hurry to get home. The stories the shell people had told filled him with foreboding. Meanwhile, he was certain that the spirits had taken Onion’s soul down into the belly of the earth while he’d been gone. The sun was still two hands from the edge of the sky. There was plenty of time before dark. Before he reached the summer camp of the people. Before they would tell him his lover was dead. While he tried not to think of her, a dream found him.
In his dream, a great herd of mammoths tracked down from the stony northern hills through the pine forest all the way to the river. There were five and five and five and five mammoths…and then more, more than Thumb could have ever counted, even if he used the fingers and toes of all of the people. They were huge, almost too big to fit in the eye of his mind. They trampled trees like tall grass, dropped turds the size of boulders.
The people made their main summer camp near the top of a low cliff overlooking the river. A rock outcrop sheltered the ledge where they chipped their knives and cooked their meals and laid their mats. When rain came, they ducked into a long lean-to covered with bison hides. The main hearth was at the center of the ledge. In the summer camp, the smoke of their fires could become sky and not sting the eyes and settle in the chest as it did in the winter lodge.
Onion curled next to Thumb under their bearskin. They were so excited to see each other that they couldn’t get to sleep. They talked in lovers’ whispers, so as not to disturb the others.
The next morning, Blue asked Thumb and Oak to walk with him to the river for a hunting council. Although Oak was Thumb’s half-brother, they had never been close. Oak was younger than Thumb. Their mother had died giving birth to him and their luck had been tangled ever since. But with Quick and the others tracking the reindeer herd, Oak was the best hunter in camp.
Owl liked to call the cleft the new cave, but then he liked to stretch words. Actually it was a place where two huge rocks had fallen against one another, and it was mostly open to the sky. All the paintings and marks on the walls of the cleft had been made either by Thumb, or his teacher, Looker, or Looker’s teacher Thorn. They had painted reindeer and red deer and ibex and horses and bison and the secret names of spirits.
“I don’t care,” said Onion. “I’m coming with you.”
Some of the people were afraid of the long cave. Most thought it a cold, forbidding place. Thumb didn’t understand this. Yes, it was crushingly dark. But the cave was ever untouched by the outside. It was always the same, always itself. In the heat of the summer, it was cool and free of bugs. When wind screamed off the ice mountains in the winter, it was the warmest place in the world. Time slowed in its never-ending night. Dreams lurked at every turn.
The ceiling in the Mother’s Lodge was low enough that he could reach up and press his palm flat against it. It was decorated with mammoths and bison and ibex and horses and rhinoceros, outlined in black soot stone. Some stood on top of one another. Upside down jostled right side up. Here was a many to make a man’s head swim. Thumb could as soon count the leaves on a tree or the hairs of Onion’s head. Ordinarily the spirits of the cave were most present in this great gathering of animals. When Thumb guided people to this room, dreams spun from the ceiling like snow from the winter sky. But now he gazed up in vain. He felt as if his soul had turned to stone.
The next thing Thumb knew, he was kneeling in front of Father Mammoth in the Council Room. The spent torch was on the floor beside the lamp, which was lit. Owl curled nearby, snoring noisily.
The two men stood at the mouth of the cave, blinking in the afternoon sun. Something was wrong. Thumb dropped the spent torch into the hearth. They were hungry and thirsty but there was no fire and the women were gone.
Quick’s party had joined the hunters from the horse people and together they had tracked the reindeer herd. As was their custom, they split the herd and had driven part of it into the Killdeer, a steep-walled gorge blocked off with boulders and felled trees at one end. There they had slaughtered the reindeer. There was enough meat to get both peoples through the coming winter. Fresh skins to make clothes and blankets, antlers and bones for tools. It was a good harvest.
The strength of the people would be tested. Blue had sent a party of scouts to watch for the strangers at the far edges of the valley. That meant that the women would have to help with the hunt. Thumb had doubts about Owl’s scheme, especially since Quick could take no part in it. The day after the council, a fever took him. He sprawled on his mat at the camp, senseless, sometimes thrashing in pain. His lover Cloud packed mustard leaves on his wound but it continued to ooze. Oak would take charge of the hunt.
It took three days to dig the pit. Owl said it must be covered with brush, or the prey would see its danger. Meanwhile a pair of hunters tracked the mammoth. When it strayed too far from the killing ground, they would show themselves and turn it back. By the night of the third day the trap was set. The people left camp just before dusk.
This is the story of Thumb the Great. He killed a mammoth with a single thrust of his spear. He gave his people the bow and arrow and taught them the ways of war. When the battle madness took him, there was no one so fierce. He led the people of the valley against the dog people and drove them back to the ice mountains. He lived a long life, fathered many children and mourned two lovers. The spirits treated him as if he were one of their own. One night they came and took him from the people. We believe he still watches over us.
The dead are dressed to travel. Their clothes come in every fashion, but always comfortable and practical and familiar. None of them are carrying luggage, because what are possessions? Temporary, and imperfect. Everything worthwhile has come here. These people are here, and nothing else matters.
So many, I declare.
An enormous machine assembles itself around the multitudes. Our passengers find themselves standing inside what resembles the cabin of an airliner or a modern train; yet this machine feels infinitely superior to anything human-built. The ceiling is low but not smothering and feels soft to the touch like treasured old leather. The floor is a carpet of ankle-deep green grass. Ambient sounds hint at power below and great encompassing strength. This interior is a single round room. An enormous room. Padded seats are laid out in neat concentric rings. Normally there is a healthy distance between seats, save in cases where a family or a group of dear friends died in the same accident or a shared plague. But emergency standards rule today. The seats are packed close, as if everyone is someone’s brother or sister. Even a graceful creature has to move with constant care, her long legs dancing from place to place to place.
The early vibrations are honest and important. Space and time are being manipulated by means both decisive and violent. Dimensions without human names are being traversed. For safety’s sake, everyone must remain in his seat. No exceptions. Tiny variations of mass disrupt the intricate calculations, and our ship is cumbersome enough, thank you.
We are successfully underway. People are encouraged to stand if they wish, and if they don’t move too far, they may wander. A constant trembling passes through the floor, and from overhead a whispering roar comes, reminding them of a distant and irresistible wind. These are artificial sensations. They bring the sense of motion, of distance won. Sentience doesn’t mean sophistication; humans would find the perfect stillness of interstellar travel unnerving, which is why we supply them with every comforting illusion.
I can see the man that he seems to be. In an instant, I examine the enormity of Tom’s brief life—everything that he has said and done, and everything done and said to him. Obvious strategies present themselves to me, begging to be used. Yet I hesitate. I know better. This man was assaulted by a bus, his belly ripped open, candy-colored guts spilling across the hot black asphalt. For that horrible instant, Tom was conscious. Despite misery and spreading shock, he managed to look at his mangled insides…and what he thought at that particular instant, I do not know. I cannot know. Every soul’s thoughts are always its own; no eye can peer into a mind’s foggy depths. Which is why the soul is precious. Is worth this kind of sacrifice and expense. What we cannot know perfectly must be preserved, at all costs. That’s what this soul-carriage means.
I watch him, but not as closely now.
But I am not scared any longer.
My team and overseer are waiting for me.
Again, I stand before my souls.
“How’s the general mood?” Tom asks.
The small aircraft swiftly bisected the cloudless chartreuse sky. Invisible encrypted transmissions raced ahead of it. Clearance returned immediately from the distant, turreted manse—Stoessl House—looming in the otherwise empty riven landscape like some precipice-perching raptor. The ever-unsleeping family marchwarden obligingly shut down the manse’s defenses, allowing an approach and landing. Within minutes, Geisen Stoessl had docked his small deltoid zipflyte on one of the tenth-floor platforms of Stoessl House, cantilevered over the flood-sculpted, candy-colored arroyos of the Subliminal Desert.
Geisen unseamed the canopy and leaped easily out onto the broad sintered terrace, unpeopled at this tragic, necessary, hopeful moment. Still clad in his dusty expeditionary clothes, goggles slung around his neck, Geisen resembled a living marble version of some young roughneck godling. Slim, wiry, and alert, with his laughter-creased, soil-powdered face now set in solemn lines absurdly counterpointed by a mask of clean skin around his recently shielded green eyes, Geisen paused a moment to brush from his protective suit the heaviest evidence of his recent wildcat digging in the Lustrous Wastes. Satisfied that he had made some small improvement in his appearance upon this weighty occasion, he advanced toward the portal leading inside. But before he could actuate the door, it opened from within.
Gep Vomacht Stoessl’s large private study was decorated with ancient relics of his birthworld, Lucerno: the empty, age-brittle coral armature of a deceased personal exoskeleton; a row of printed books bound in sloth-hide; a corroded aurochs-flaying knife large as a canoe paddle. In the wake of their owner’s death, the talismans seemed drained of mana.
Gep Bloedwyn Vermeule, of Vermeule House, today wore her long blonde braids arranged in a complicated nest, piled high atop her charming young head and sown with delicate fairylights that blinked in time with various of her body rhythms. Entering the formal reception hall of Stoessl House, she marched confidently down the tiles between ranks of silent bestient guards, the long train dependent from her formfitting scarlet sandworm-fabric gown held an inch above the floor by tiny enwoven agravitic units. She came to a stop some meters away from the man who awaited her with a nervously expectant smile on his rugged face.
The cluttered, steamy, noisy kitchens of Stoessl House exhibited an orderly chaos proportionate to the magnitude of the preparations underway. The planned rebirth dinner for the paterfamilias had been hastily converted to a memorial banquet, once the proper, little-used protocols had been found in a metaphorically dusty lobe of the marchwarden’s memory. Now scores of miscegenational bestients under the supervision of the lone human chef, Stine Pursiful, scraped, sliced, chopped, diced, cored, deveined, scrubbed, layered, basted, glazed, microwaved, and pressure-treated various foodstuffs, assembling the imported luxury ingredients into the elaborate fare that would furnish out the solemn buffet for family and friends and business connections of the deceased.
No one knew the origin of the tame strangelets that seeded Chalk’s strata. But everyone knew of the immense wealth these cloistered anomalies conferred.
In the shadow of the Tasso Escarpments, adjacent to the Glabrous Drifts, Carrabas House sat desolate and melancholy, tenanted only by glass-tailed lizards and stilt-crabs, its poverty-overtaken heirs dispersed anonymously across the galaxy after a series of unwise investments, followed by the unpredictable yet inevitable exhaustion of their marble-bearing properties—a day against which Vomacht Stoessl had more providently hedged his own family’s fortunes.
Coming to terms with the semideranged Carrabas marchwarden required delicate negotiations. The protective majordomo simultaneously resented the trespassers—who did not share the honored Carrabas family lineage—yet on some different level welcomed their company and the satisfying chance to perform some of its programmed functions for them. Alternating ogreish threats with embarrassingly humble supplications, the marchwarden needed to hear just the right mix of defiance and thanks from the squatters to fully come over as their ally. Luckily, Ailoura, employing diplomatic wiles honed by decades of bestient subservience, perfectly supplemented Geisen’s rather gruff and patronizing attitude. Eventually, the ghost of Carrabas House accepted them.
In the chilly viridian morning, over fish and kava, cat and man held a war council.
The eccentric caravan of Marco Bozzarias and his mistress Pigafetta had emerged from its minting pools as a top-of-the-line Baba Yaya model of the year 650 PS. Capacious and agile, larded with amenities, the moderately intelligent stilt-walking cabin had been designed to protect its inhabitants from climatic extremes in unswaying comfort while carrying them surefootedly over the roughest terrain. But plainly, for one reason or another (most likely poverty) Bozzarias had neglected the caravan’s maintenance over the twenty-five years of its working life.
Three weeks after first employing the wily Bozzarias in their scam, Geisen and Ailoura sat in their primitive quarters at Carrabas House, huddled nervously around Geisen’s diary, awaiting transmission of the meeting they had long anticipated. The diary’s screen revealed the familiar landscape around Stoessl House as seen from the windows of the speeding zipflyte carrying their agent to his appointment with Woda, Gitten, and Grafton.
Ursine yet doughy, unctuous yet fleering, Grafton clapped Bozzarias’ shoulder heartily and ushered the foppish man to a seat in Vomacht’s study. Behind the dead padrone’s desk sat his widow, Woda, all motile maquillage and mimicked mourning. Her teeth sported a fashionable gilt. Gitten lounged on the arm of a sofa, plainly bored and resentful, toying with a handheld hologame like some sullen adolescent.
“Sandworm concubine!” Geisen appeared ready to hurl his eavesdropping device to the hard floor, but restrained himself. “How I’d like to smash their lying mouths in!”
“You are appallingly obese, Geisen. Your form recalls nothing of the slim blade who cut such wide swaths among the girls of the various Houses before his engagement.”
The largest ballroom in Stoessl House had been extravagantly bedecked for the arrival of Timor Carrabas. Living luminescent lianas in dozens of neon tones festooned the heavy-beamed rafters. Decorator dust migrated invisibly about the chamber, cohering at random into wallscreens showing various entertaining videos from the mediapoietic worlds. Responsive carpets the texture of moss crept warily along the tessellated floor, consuming any spilled food and drink wasted from the large collation spread out across a servitor-staffed table long as a playing field. (House chef Stine Pursiful oversaw all with a meticulous eye, his upraised ladle serving as baton of command. After some argument among the family members and chef, a buffet had been chosen over a sit-down meal, as being more informal, relaxed, and conducive to easy dealings.) The floor space was thronged with over a hundred gaily caparisoned representatives of the Houses most closely allied to the Stoessls, some dancing in stately pavanes to the music from the throats of the octet of avian bestients perched on their multibranched stand. But despite the many diversions of music, food, drink, and chatter, all eyes had strayed ineluctably to the form of the mysterious Timor Carrabas when he entered, and from time to time thereafter.
The star liner carrying Geisen, Ailoura, and the stasis-bound Carrabas marchwarden to a new life sped through the interstices of the cosmos, powered perhaps by a strangelet mined from Stoessl lands. In one of the lounges, the man and his cat nursed drinks and snacks, admiring the exotic variety of their fellow passengers and reveling in their hard-won liberty and security.
It was not until five weeks after his father’s funeral that Henry Farange was able to remove the white plastic milk crate containing the old man’s final effects from the garage. His reticence was a surprise: his father had been sick—dying, really—for the better part of two years and Henry had known it, had known of the enlarged heart, the failing kidneys, the brain jolted by mini-strokes. He had known it was, in the nursing home doctor’s favorite cliché, only a matter of time, and if there were moments Henry could not believe the old man had held on for as long or as well as he had, that didn’t mean he expected his father to walk out of the institution to which his steadily declining health had consigned him. For all that, the inevitable phone call, the one telling him that his father had suffered what appeared to be a heart attack, caught him off guard, and when his father’s nurse had approached him at the gravesite, her short arms cradling the milk crate into which the few items the old man had taken with him to the nursing home had been deposited, Henry’s chest had tightened, his eyes filled with burning tears. Upon his return home from the post-funeral brunch, he had removed the crate from his back seat and carried it into the garage, where he set it atop his workbench, telling himself he couldn’t face what it contained today, but would see to it tomorrow.
Tomorrow, though, turned into the day after tomorrow, which became the day after that, and then the following day, and so on, until a two-week period passed during which Henry didn’t think of the white plastic milk crate at all, and was only reminded of it when a broken cabinet hinge necessitated his sliding up the garage door. The sight of the milk crate was a reproach, and in a sudden burst of repentance he rushed up to it, hauled it off the workbench, and ran into the house with it as if it were a pot of boiling water and he without gloves. He half-dropped it onto the kitchen table and stood over it, panting. Now that he let his gaze wander over the crate’s contents, he could see that it was not as full as he had feared. A dozen hardcover books: his father’s favorite Henry James novels, which, he had claimed, were all that he wanted to read in his remaining time. Henry lifted them from the crate one by one, glancing at their titles. The Ambassadors. The Wings of the Dove. The Golden Bowl. The Turn of the Screw. What Maisie Knew. He recognized that last one: the old man had tried twice to convince him to read it, sending him a copy when he was at college, and again a couple of years ago, a month or two before the old man entered the nursing home. It was his father’s favorite book of his favorite writer, and, although he was no English scholar, Henry had done his best, both times, to read it. But he rapidly became lost in the labyrinth of the book’s prose, in sentences that wound on for what felt like days, so that by the time you arrived at the end, you had forgotten the beginning and had to start over again. He hadn’t finished What Maisie Knew, had given up the attempt after Chapter One the first time, Chapter Three the second, and had had to admit his failures to his father. He had blamed his failures on other obligations, on school and work, promising he would give the book another try when he was less busy. He might make good his promise yet: there might be a third attempt, possibly even success, but when he was done, his father would not be waiting to discuss it with him. Henry removed the rest of the books from the crate rapidly.
Once upon a time, there was a boy who lived with his father and his father’s butler in a very large house. As the boy’s father was frequently away, and often for long periods of time, he was left alone in the large house with the butler, whose name was Mr. Gaunt. While he was away, the boy’s father allowed him to roam through every room in the house except one. He could run through the kitchen; he could bounce on his father’s bed; he could leap from the tall chairs in the living room. But he must never, ever, under any circumstances, go into his father’s study. His father was most insistent on this point. If the boy entered the study…hisfather refused to say what would happen, but the tone of his voice and the look on his face hinted that it would be something terrible.
With a snap, the stereo reached the end of the tape. Henry Farange released a breath he hadn’t been aware he was holding and slumped back on the couch. His beer and the pleasant lassitude it had brought were long gone; briefly, he contemplated going to the refrigerator for another bottle, and possibly the rest of the six-pack while he was at it. Heaving himself to his feet and shaking his head, he murmured, “God.”
Ron Wolfe is a feature writer and cartoonist for the Arkansas Democrat-Gazette newspaper in Little Rock. He is the co-author (with John Wooley) of the novels Old Fears and Death’s Door. Wolfe is from North Platte, Nebraska, Buffalo Bill Cody’s hometown. “My grandmother once saw Buffalo Bill ride a white horse into a saloon,” he says. “I wished I could have seen him, too, and through her eyes, I did. I think that’s when I realized what storytelling is all about.”
Chris Willrich’s family’s from western Washington State, and the landscape there slips into a lot of his fiction—including the rain. His work has appeared in Isaac Asimov’s Science Fiction Magazine, The Mythic Circle, and The Magazine of Fantasy & Science Fiction (where this story and its predecessor, “The Thief With Two Deaths,” first appeared). These days he lives with my wife in sunny Silicon Valley, works at a university library, and generally leads a safer life than any of his characters.
Ursula K. Le Guin’s intellectually provocative fiction has earned her accolades in general literary circles as well as the fields of fantasy and science fiction. The novels of her Earthsea saga, which includes A Wizard of Earthsea, The Tombs of Atuan, The Farthest Shore, Tehanu: The Last Book of Earthsea, and Tales from Earthsea, break the boundaries between adult and young adult fiction, and comprise a coming-of-age story featuring Ged, an apprentice magician who grows to maturity and faces many challenges as both man and mage over the course of the saga. Le Guin has been praised for her understanding the importance of rituals and myths that shape individuals and societies, and for the meticulous detail with which she brings her alien cultures to life. She has written other novels including The Lathe of Heaven, The Dispossessed, Malafrena, and Always Coming Home. Her short fiction has been collected in The Wind’s Twelve Quarters, Orsinian Tales, Buffalo Gals Won’t You Come Out Tonight, and Four Ways to Forgiveness. Le Guin has also written many celebrated essays on the craft of fantasy and science fiction, some of which have been gathered in The Language of the Night and Dancing at the Edge of the World.
Robert Sheckley is a writer who is constantly pursuing the unknown in his writing, making his reader rethink the most ordinary situations. He has written almost 20 novels, and has collaborated with such authors as Harry Harrison and the late Roger Zelazny. He was the fiction editor of Omni magazine from 1980 to 1982, and has also written many television and radio plays. A winner of the Jupiter award, he lives in Oregon.
Jeffrey Ford is the author of a fantasy trilogy comprised of The Physiognomy (winner of the 1998 World Fantasy Award for best novel), Memoranda, and The Beyond (all from Eos/Harper Collins). His most recent books are The Portrait of Mrs. Charbuque (Morrow/ Harper Collins, 2002) and the story collection, The Fantasy Writer’s Assistant (Golden Gryphon, 2002). Ford’s short fiction has appeared in The Magazine of Fantasy & Science Fiction, SciFiction, Black Gate, Lady Churchill’s, Leviathan #3, The Green Man Anthology, and Year’s Best Fantasy and Horror, vols. 13 and 15. His stories have also been nominated for the Nebula and the World Fantasy Award.
Brian Stableford is a lecturer in Creative Writing at King Alfred’s College, Winchester, where he teaches on an MA in “Writing for Children.” The sixth and final volume of his future history series from Tor, The Omega Expedition, was published in December 2002. Novels scheduled for U.S. publication in 2003 are Kiss the Goat: A Twenty-First Century Ghost Story (Prime Press) and Year Zero.
David Prill has written novels, short stories, political humor, bowling columns and horoscopes. His other published novels are Serial Killer Days and Second Coming Attractions. His latest book, Dating Secrets of the Dead, is a collection of short fiction including a 20,000-word novella, “The Last Horror Show.” It will soon be released in a limited edition from Subterranean Press. He lives in Dakota County, Minnesota.
James Patrick Kelly has had an eclectic writing career. He has written novels, short stories, essays, reviews, poetry, plays and planetarium shows. His books include Strange But Not a Stranger, Think Like a Dinosaur and Other Stories, Wildlife, and Look into the Sun. His fiction has been translated into fourteen languages. He has won the World Science Fiction Society’s Hugo Award twice: in 1996, for his novelette “Think Like a Dinosaur” and in 2000, for his novelette, “Ten to the Sixteenth to One.” He writes a column on the Internet for Isaac Asimov’s Science Fiction Magazine, and his audio plays are a regular feature on Scifi.com’s Seeing Ear Theater. He is currently one of fourteen councilors appointed to the New Hampshire State Council on the Arts. He bats right, thinks left and has too many hobbies.
Robert Reed is the author of nearly a dozen novels, including Marrow and the soon to be released Sister Alice, both published by Tor Books. He has also sold to most of the major magazines, including Isaac Asimov’s Science Fiction Magazine and The Magazine of Fantasy & Science Fiction. A tiny portion of his short fiction has been collected in The Dragons of Springplace, published by Golden Gryphon Press. Reed lives in Lincoln, Nebraska, with his wife and daughter.
Paul Di Filippo is the author of hundreds of short stories, some of which have been collected in five widely-praised collections: The Steampunk Trilogy, Ribofunk, Fractal Paisleys, and Lost Pages—all from Four Wall Eight Windows—and Strange Trades, published by Golden Gryphon Press. Another collection, Destroy All Brains, was published by another small press, Pirate Writings, but is quite rare because of the extremely short print run (if you see one—buy it!). His long-awaited first novel, Ciphers, was published at the end of the 20th century, followed by his second novel, Joe’s Liver, in February 2000, with a third, titled Spondulix on the way. Paul lives in Providence, Rhode Island.
John Langan is a Ph.D. candidate in English at the CUNY Graduate Center. He is also an adjunct instructor at SUNY New Paltz. He lives with his wife in upstate New York.
“Our Friend Electricity,” by Ron Wolfe. Copyright © 2002 by Ron Wolfe. First published in The Magazine of Fantasy and Science Fiction, June 2002. Reprinted by permission of the author. • “King Rainjoy’s Tears,” by Chris Willrich. Copyright © 2002 by Spilogale, Inc. First published in The Magazine of Fantasy and Science Fiction, July 2002. Reprinted by permission of the author. • “Social Dreaming of the Frin,” by Ursula K. Le Guin. Copyright © 2002 by Ursula K. Le Guin. First published in The Magazine of Fantasy and Science Fiction, Oct.-Nov. 2002. Reprinted by permission of the author and the author's agent, the Virginia Kidd Literary Agency, Inc. • “Agamemnon’s Run,” by Robert Sheckley. Copyright © 2002 by Robert Sheckley. First published in The DAW 30th Anniversary Anthology. Reprinted by permission of the author. • “Creation,” by Jeffrey Ford. Copyright © 2002 by Jeffrey Ford. First published in The Magazine of Fantasy and Science Fiction, May 2002. Reprinted by permission of the author. • “The Face of an Angel,” by Brian Stableford. Copyright © 2002 by Brian Stableford. First published in Leviathan 3. Reprinted by permission of the author. • “Dating Secrets of the Dead,” by David Prill. Copyright © 2002 by David Prill. First published in The Magazine of Fantasy and Science Fiction, June 2002. Reprinted by permission of the author. • “Luck,” by James Patrick Kelly. Copyright © 2002 by James Patrick Kelly. First published in Isaac Asimov’s Science Fiction Magazine, June 2002. Reprinted by permission of the author. • “The Majesty of Angels,” by Robert Reed. Copyright © 2002 by Spilogale, Inc. First published in The Magazine of Fantasy and Science Fiction, September 2002. Reprinted by permission of the author. • “Ailoura,” by Paul di Filippo. Copyright © 2002 by Paul di Filippo. First published in Once Upon a Galaxy,. Reprinted by permission of the author. • “Mr. Gaunt,” by John Langan. Copyright © 2002 by John Langan. First published in The Magazine of Fantasy and Science Fiction, September 2002. Reprinted by permission of the author.
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