The Three Beautiful Raptor Sisters

by Brooke Bolander

  There are stripes on the cheeks of the third, and an expression that says she's never dabbed makeup over them and might sooner cut off her own head than entertain the thought. She holds her chin high as she changes, higher still as she speaks. Her voice is a razor wrapped in velvet.

  “They took my forest,” she says. “They took my prey. They took my people's skins. Not my skin, but that didn't matter too much in the long run, now did it?” Her tail-tip swishes. “Their fear was deadly enough, but their admiration was what crushed the windpipe. There's nothing worse for continued survival than their wanting to be like you — to touch you, to possess you. Once they get it into their heads that you're ‘special’…”

  The tigress shakes her head disgustedly. She stalks off to meet her fate.

  One by one they stand and have their say. One by one the cluster of shadows beneath the ship's bulk thickens. Scale and fin, feather and fur. A woman with black and yellow hair and a voice like many voices buzzing together. Leather-faced, leather-skinned aunties with slow-spoken, toothless mouths. Enormous Fatu. The fire takes them all, changing them, and their stories are all different and yet, at the heart of things, all the same. Linnea watches with growing apprehension, fear coiling inside her. She cannot decide which is more terrifying: walking into the fire or being left out of it.

  The sky lightens. The group thins. Three left: Auntie Ben, Auntie Doris, and Auntie Martha. Linnea wants to cry out NO!, but something solid seems lodged in her throat.

  Auntie Ben goes first. With a fond, wry smile, she retrieves her skin. A long-jawed, rangy thing, neither wolf nor tiger, with stripes on her ragged flanks: that is the true shape of Auntie Ben.

  “I've told my story about as often as anyone cares to hear it,” she says. “We were strong and swift and lived freer than scrub seed. Men came. They did what men carrying guns do. Just to add insult to injury, they stuck the last of us to die in a bloody concrete cage as a way of saying ‘sorry.’ I'm tired of blathering on about that, though. If it pleases you all — hell, even if it doesn't — I'd rather never think about it again. I'd rather kick sand over this dead place and head for the stars, where other somewheres might be in need of fur and feathers and sharp, smart jaws full of teeth. Chicks leave the nest and joeys leave the pouch. It's just about time for all of us to do the same.”

  She doesn't step into the fire. Not yet. Instead, she pads across the open space, stripes rippling across lean muscle. She keeps on coming until she's so close Linnea can smell the dusty musk and fur scent of her. It's a wild reek — which makes it slightly unnerving — but it's also Auntie Ben, which makes Linnea abruptly sob and fall forward to hug the rangy creature around her rough neck. Auntie Ben allows the mauling, good-natured as always.

  “I know you're afraid of changing, little one,” she says softly. “Your people never were any good at it, and you've seen how that turned out. If I had to hazard a guess, I'd say that's why you've got no skin of your own, poor naked mite.” A long pink tongue flicks out to touch Linnea on the cheek. “But whether you go or stay, change is coming for you, and it can either be the one you choose or the one you don't. Which is it gonna be? Think you can manage the trick?”

  Linnea tries to say yes. She tries to mean it. But the fire and the unknown behind it and her fear of both (she's so afraid, she can't help it, her knees are shaking and they won't stop) turn her attempted “yes” to a lie, and the lie clots sour and solid so that not a word can get around it. Auntie Ben watches her struggle, unable to offer help or assistance or meaningless, soothing words that might also be lies.

  Gently, firmly, she pulls away and steps back.

  “It's up to you,” she says. “We've done all we could.”

  The creature Linnea knows as Auntie Ben turns and trots into the fire. Her shadow gives Linnea a final featureless look over its shoulder before taking her place in the crowd of shades.

  Auntie Doris comes next, as serious and wide-eyed as Linnea's ever seen her. A click of the lock and a snap of the hinges and here's her own true self: a thick-beaked, long-necked, goggle-eyed bird with a fat, squat body and wings more like suggestions than anything approaching useful appendages. She takes a look at herself — the stout legs, the powerful claws — and chuckles fondly.

  “Round as an egg, round as an egg, bless my bottom feathers. And what better way is there to be? Flight isn't all it's cracked up to be, no no no. I see plenty of them's got that power standing in the ranks, and you see how well that served them. They're passing on through the fire, same as I.” A firm nod of the bulbous head. “I admit to mistrusting fire. When the men came to our lands they carried it, and I can still remember the smell of all my aunties and uncles and cousins a-roasting over it. But they're all gone now, and so are all those hungry, hungry men. Nothing left but my poor Linnea, and we raised her better than all that, didn't we, girls?”

  She waddles closer. Linnea hugs her as well; soft feathers over surprisingly hard muscle, like a silky, affectionate fireplug.

  “You learn things, being so low to the ground,” she says. “You learn to be sturdy. You learn how to appreciate the earth you're planted on. Nobody ever knocked me down with any club! If I settled my bottom, it was always my own decisioning. That's important. Whatever you do, you just remember that, love. You settle your bottom where and when you feel like it. We'll understand if the fire is too much to ask, but oh, we will miss you.”

  A final affectionate butt of the head, a long, fond look, and away she goes, at as stately a pace as one of her kind can muster. She flinches at the fire's edge — remembering those earlier fires, maybe; the dogs and the rats and the hungry sailors — but only for a moment. Auntie Doris is stronger than she looks.

  Auntie Martha's trunk is lined with yellowing maps of the stars, and the feathers of her cloak are the slate-and-peach of the pre-dawn sky. She settles on Linnea's shoulder with a whistle-whirr of wings.

  “We were more like your kind than all the others, in our way,” she says, close to Linnea's ear. “So many of us we blotted the sun and stripped the branches. But we exist to learn, and to change in the learning, in the hopes that some day we may find ourselves changed enough to tell our stories and tell them honestly, no matter how much that may sometimes… sting. Then we can become something else, and fly on.” Her claws dig through the thin fabric of Linnea's shirt. “I am uncomfortable with all this talk of decisions. There's nothing wrong with needing more time. Hatchlings grow their feathers when they will. Do you feel your people are ready to have their story told?”

  Linnea looks at the shadows and the rocket. She stares into the fire. All she knows is potato crisp wrappers and garbled voices on the radio. The aunties gave her love, but in their love they neglected many things.

  “There are some things that cannot be taught, only learned,” Auntie Martha says, as if hearing the thoughts rattling around in her head. “That was not our story to tell, little fledging. We're ghosts, and you are still alive, but we love you, and that makes the letting go hard. No one — not even those you care about, neither I or Ben nor Doris — can or should force you into a change you aren't prepared for. It has to be your own decision, in your own time.”

  She fluffs her feathers and rubs her head against Linnea's cheek.

  “Remember our stories while you learn your own,” she whispers. “I left star-charts for you; they're in the bedroom in a box beneath my bed. I carry my own in my head, the same as my people always have.” A note of pride. “Catch up when you're ready, and no sooner. Be good. Remember we love you.”

  Shades marching two-by-two onto a shadowy ship — shadows of tiger and thylacine, dodo and dingo, elephant and sharp-horned rhinoceros. They hop and fly and pace up the gangplank in silence. The fire beneath them dies to embers as the light in the east grows and the last disappears inside, the rusted old hatch slamming shut behind them with a clang.

  Nothing happens, at first. Then there's a slow rumbling from
within the rocket's guts, a rust-rattling, bolt-testing shudder that grows and grows and grows until the entire ship and all the ground around-abouts it are shaking like a penny in a tin can. The first red rays of the sun set fire to the scaffoldings and fins, the soldered seams that patch the scavenged eyetooth-length of the thing together. Orange dust rises like smoke. The long, pointed shadow at its base jitters faintly.

  The ship begins to topple over. At the same time, its shadow pulls itself free of the dusty ground, ascending with a noise like a hurricane wind made up of the calls of every animal to ever creep or crawl or flap or low, a joyous, cacophonous menagerie. It lifts higher and higher, charging to meet the dawn as, far below, the ship collapses completely. The air is full of sand and twigs and old litter picked up by the whirl — candy wrappers, plastic bags, feathers. Chunks of scaffolding tumble-bang to earth end-over-appetite, adding their own clattering boom and roar to the morning as the shadow pulls away. It is a cloud — a bird — a mote swimming across the eye — and then it is nothing at all.

  The triumphant menagerie song fades to an echo. A trick of the wind, occasionally interrupted by another piece of the ship's struts coming down with a tooth-rattling thud.

  Goodbye.

  Every morning she gets up and brushes her own hair, makes her own bed. She eats a breakfast of whatever she's scavenged the previous day. There are no potato crisps, but the aunties taught her long ago all was left that could be plucked, pecked, swallowed, or snapped. If the weather's good, she takes the pickup out looking for pieces of story — diaries of neighbors, scraps of old newspapers, history books. If it isn't (and frequently it isn't; the storms grow worse as time spreads like a puddle), she spends her afternoons huddled in the root cellar, thinking about everything she's learned.

  She watches the seasons turn until there are no more seasons, just days, hot and identical when they aren't memorably violent. She outgrows her clothes and takes new ones from the abandoned town. The kitchen radio coughs dry static for a little while longer before dying completely. One night the sky dances with cloudless lightning the color of blood, a crackling red net stretching from horizon to unseen horizon. The next morning the pickup won't start.

  From then on Linnea walks everywhere she needs to go. She wears out every pair of shoes the town's got left and then her feet get as hard and tough as everything else in the dying world.

  Old warnings unheeded, predictions shrugged off, smokestacks belching into the sky. Extinction. She learns new words.

  With the pickup broke down, food gets harder to find. Linnea's ribs are a ladder leading directly to her throat. She dreams of the tastes of all the good things she's ever eaten — canned corned beef, a soda she found in a vending machine once, the beloved and well-worn potato crisps. She dreams of constellations with stars like stripes along their flanks. She dreams of an airship, a low-swung thing with a sagging canvas belly above and a wooden deck below.

  When she wakes from the last, she has a blueprint in her head. She's no longer hungry or thirsty. She has all the energy in the world, a mind overflowing like a rain bucket with stories.

  You're changing, Auntie Martha might've said, pleased. You're learning, growing your feathers. You're almost ready to fly.

  Saying goodbye stripped Linnea of her fear. Once the worst comes to pass, what else is there to fret about?

  Now all her energy focuses on building the airship. It becomes an obsession. She gathers old sheets, pulls the curtains from the bedroom windows, raids houses and boarded-up hotels for their linens. She stitches them all together (when did she learn to sew?) into a giant patchwork bag. It gives her no free time to spend missing the aunties or thinking about food. She sits cross-legged in sandstorms with her needle and thread, head down, turning quilts and blankets to wings. She no longer feels the sun on her back or the hot wind in her hair. All that's left is determination.

  Catch up when you're ready, and no sooner.

  The farmhouse loses its clapboards. The airship gains ribs and struts and a sturdy wooden basket in a cheerful, peeling yellow. Propellers are pried off fishing boats that will never see water again. There are parts of the construction that Linnea cannot recall clearly the next day; a dark spot in her mind's eye and the patchwork bag is stretched and nailed firmly over the frame and she has no memory whatsoever of how it got there. A feeling of finality builds. It pushes everything else out like a cat expanding to fill a sunny windowsill.

  A night comes when the moon is as full and fat and yellow as a disc of dry bone in the sky. Everything is spilled ink and ivory. The airship squats near what's left of the original rocket, waiting for Linnea as she steps out her front door. Not a sigh of wind disturbs the becalmed world. It's as still and breathless a night as she's seen in an unreckoned amount of time — a listening audience, a girl waiting for a bedtime story.

  Or a conductor waiting for someone to fish out a ticket. She's got no skin but her own to draw on; humans traded their stripes for words long ago.

  “We weren't very good at this,” Linnea says to the darkness.

  After going so long without speaking or hearing another voice, the sound of her own voice lands like a teacup kissing concrete.

  “The man who built this house used to hit his wife. He died a long time ago, before the aunties moved in, but I still know that somehow. I know a lot of stuff now. I know all the things I learned and all the things I didn't.” Linnea lets her gaze wander over the familiar front porch landmarks — the abandoned wasp nest in the shadowy upper left corner, the pillars sandblasted down to bare, dried wood. She thinks she sees movement out of the corner of one eye. A dark bipedal shape beneath the airship's bulk, an absence of moonlight clinging to memories of alarm clocks and apple pie. Another joins it, then another.

  “I know why me and all those other kids were living around the gas station,” she continues. “I know where all the grown-ups went. I know why they went there, and why they never came back. I know why they stopped talking on the radio, and it's all… so… dumb. Nobody would listen to one another, not even to the people they loved. Maybe they weren't scared enough. Maybe they were scared of the wrong things. They didn't have Auntie Ben and Auntie Martha and Auntie Doris to teach them about stuff and they wouldn't have listened anyways, but…”

  There are so many stories buzzing inside Linnea's head it's hard to hold on to the frayed length of her own thoughts. She gropes and pushes aside other people's memories until she finds the end of it again. The little cluster of flickering shadows around the airship's hull is thicker now. The patchwork bag shudders and stirs with a faint hiss.

  “We weren't very good at this,” she repeats. “And we took everybody else with us. But we weren't all bad. We had potato crisps, and ice cream, and we built farmhouses and wrote songs and told stories. Maybe next time will be okay. Maybe we'll turn into something better at changing once we fly.”

  There is a noise — a rising wind, a thousand whispers, a sliding of fabric and a slither of inflating canvas. The horizon in the direction of the abandoned town seems to ripple.

  Linnea steps off the porch into the moonlight. She strides across the yard, vaults the fence, and doesn't stop until the shadow of the rising airship reaches out to swallow her own.

  Pretend you are the land — the empty sea-lapped cities with their blank skull eyes, the blasted green glass wastes, the skeletal forests. The desert, as red and uncaring as ever. Do you feel the shadow cutting a nightjar's swoop across your foothills? Do you see the airship that throws it, nosing noiselessly across the face of the moon?

  Ghosts rise to meet the vessel, sinuous as smoke and blue as pilot flames. They cluster thickest over the cities, but even in the empty parts of the world there are always a few hurrying to catch up. The airship moves with the graceful, unbothered patience of a whale hunting for krill. It is a black mouth with a belly big enough for all of humanity, filtering souls from a night that seems endless. No need to rush, it
whispers, but even in extinction humans are terrible at altering their old habits.

  (Remember whales? Remember nightjars? Remember life in the sea and the sky?)

  It takes forever. It takes no time at all. It crosses all the whens and wheres, all the should-have-beens and never-wills. Whoever or whatever stands at the wheel has a steady, tireless hand. The gathering goes on for exactly as long as it needs to, until there's nobody else left to claim. The moon sets and the stars rise; so, too, does the airship. It sets a course for a constellation shaped like a long, lean predator, distant flickering suns dotting its purple flanks like stripes.

  Drifting gently upward

  (Remember balloons? Remember letting go of your first in the parking lot of some forgotten bank, tearfully saying goodbye as it climbed and climbed and the sun turned it to a bird?)

  distance shrinks its size, taking memories of telephones and coffee tables and radio broadcasts along with it. First kisses, last breaths, friendships and fallout and fires blossoming on the horizon — they dwindle and dim, going back to the darkness all thoughts and stories come from. A final pulse of ancient light from a dead star — red-blue-green — and there's nothing left to see and no one left to remember they ever saw it.

  Pretend you are the land. Goodbye, you say, slamming a screen door in the wind. Goodbye. Better luck next time.

  The Last of the Minotaur Wives

  When the first of the Minotaur Brides was set to be a concubine in darkness, she was warned never to try escape. She was given an explanation: you are a monster, and below the earth you & your kind shall stay.

  Nevertheless, my darling calf, she persisted. And so too have we.

  The oldest wife finally dies. Blue is alone in the labyrinth, last of the lot.

  She picks up the body in her strong arms, light as linen or sand, and carries it to the drying place. The sudden sun is bright there. The shadow of her horns slants a black slash against the sandstone walls. Bones clatter beneath her hooves.