The Starry Rift

by Jonathan Strahan

  The possibility of Sam sits there, and I can use it whenever I want.

  It’s funny. Just knowing that seems to be the most important thing.

  They do find him, a few months later, and his memory. They give us back the unclassified pictures and movies. There are lots and lots of me.

  I’m a stranger to myself, seeing me through his eyes. In one movie we’re out on the reef, snorkeling. I laugh and argue about something, I can’t quite hear my words because it’s so loud out there, with the wind and the waves. I look very, very young. I fling back my head and dive sideways into the sun’s reflection on the water.

  “I love you, Sundiver!” he shouts when I surface out at the reef after swirling to look at a vast ray, its wingspan at least twenty feet long, and flip to swim with it for a few feet. I remember how fast it was, and how I managed to touch its speckled wingtip, unafraid of its legendary stinging tail. “Don’t be mad!”

  I see myself, and it’s odd, my face still covered with the mask, treading water. I spit out my snorkel mouthpiece. “It’s so beautiful,” I shout back, my voice small in the roar of the wind and the sound of waves slapping the boat.

  As I watch these pictures, sometimes in the garden, sometimes at night when I wake up at three, and the only thing I see is the glowing screen in my hands, the world does slowly wink again, and deepens somehow, and Ed stirs on his perch and sometimes flies to my shoulder to watch with me. “Sammy,” he croaks. “Sammy.”

  The world brims with tears, and I feel them all. It’s a miracle. I don’t know how it happened.

  KATHLEEN ANN GOONAN has been a packer for a moving company, a vagabond, a madrigal singer, a painter of watercolors, and is a fiercely omnivorous reader. She has a degree in English and Association Montessori Internationale certification. After teaching for thirteen years, ten of them in her own one-hundred-student school, she began writing. She has published over twenty short stories in venues such as Omni, Asimov’s, F&SF, Interzone, scifi.com, and a host of others. Her Nanotech Quartet includes Queen City Jazz, Mississippi Blues, Crescent City Rhapsody, and Light Music; the latter two were both shortlisted for the Nebula Award. The Bones of Time, shortlisted for the Arthur C. Clarke Award, is set in Hawaii. Her most recent novel is In War Times. Her novels and short stories have been published in France, Poland, Russia, Great Britain, the Czech Republic, Spain, Italy, and Japan. “Literature, Consciousness, and Science Fiction” recently appeared in the Iowa Review online journal. She speaks frequently at various universities about nanotechnology and literature.

  Her Web site is www.goonan.com.

  AUTHOR’S NOTE

  I have lived in the Florida Keys for the past fifteen years. “Sundiver Day” is an outgrowth of a YA novel I have been working on, The Water Rats, in which four teenaged girls of various backgrounds, living in the Florida Keys, have access to stunningly beautiful, sometimes treacherous Florida Bay, which they explore at every opportunity in their own small boat. This life on the water exposes them to danger and mysteries and magnifies their own ever-changing relationship to each other, to the world around them, and to the adult world, which they soon must enter. At sixteen, Eelie is utterly devastated by her brother’s death; “Sundiver Day” is essentially a story about dealing with the fact of death and newly available choices in a world that is becoming increasingly science fictional.

  THE DUST ASSASSIN

  Ian McDonald

  When I was a small, a steel monkey would come into my room. My ayah put me to bed early, because a growing girl needed sleep, big sleep. I hated sleep. The world I heard beyond the carved stone jali screens of my verandah was too full of things for sleep. My ayah would set the wards, but the steel monkey was one of my own security robots and invisible to them. As I lay on my side in the warmth and perfume of dusk, I would see first its little head, then one hand, then two appear over the lip of my balcony, then all of it. It would crouch there for a whole minute, then slip down into the night shadows filling up my room. As my eyes grew accustomed to the dark, I would see it watching me, turning its head from one side to the other. It was a handsome thing, metal shell burnished as soft as skin (for in time it came close enough for me to slip a hand through my mosquito nets to stroke it) and adorned with the symbol of my family and its make and serial number. It was not very intelligent, less smart than the real monkeys that squabbled and fought on the rooftops, but clever enough to climb and hunt the assassin robots of the Azads along the ledges and turrets and carvings of the Jodhra Palace. And in the morning I would see the steel monkeys lining the ledges and rooftops with their solar cowls raised, and then they did not seem to me like monkeys at all, but cousins of the sculpted gods and demons among which they sheltered, giving salutation to the sun.

  You never think your life is special. Your life is just your life, your world is just your world, even lived in a Rajput Palace defended by machine monkeys against an implacable rival family. Even when you are a weapon.

  Those four words are my memory of my father: his face filling my sight like the Marwar moon, his lips, full as pomegranates, saying down to me, You are a weapon, Padmini, our revenge against the Azads. I never see my mother’s face there: I never knew her. She lived in seclusion in the zenana, the women’s quarters. The only woman I ever saw was my ayah, mad Harpal, who every morning drank a steaming glass of her own piss. Otherwise, only men. And Heer, the khidmutgar, our steward. Not man, not woman: other. A nute. As I said, you always think your life is normal.

  Every night, the monkey-robot watched me, turning its head this way, that way. Then one night it slipped away on its little plastic paws and I slid out of my nets in my silk pajamas after it. It jumped up on the balcony, then in two leaps it was up the vine that climbed around my window. Its eyes glittered in the full moon. I seized two handfuls of tough, twisted vine, thick as my thigh, and was up after it. Why did I follow the steel monkey? Maybe because of that moon on its titanium shell. Maybe because that was the moon of the great kite festival, which we always observed by flying a huge kite in the shape of a man with a bird’s tail and outstretched wings for arms.

  My father kept all the festivals and rituals, the feasts of the gods. It was what made us different from, better than, the Azads. That man with wings for arms, flying up out of the courtyard in front of my apartment with the sun in his face, could see higher and farther than I, the only daughter of the Jodhras, ever could.

  By the moonlight in the palace courtyard I climbed the vine, like something from one of ayah’s fairy tales of gods and demons. The steel monkey led on, over balconies, along ledges, over carvings of heroes from legends and full-breasted apsara women. I never thought how high I was: I was as light and luminous as the man-bird. Now the steel monkey beckoned me, squatting on the parapet with only the stars above it. I dragged myself up onto the roof. Instantly an army of machine monkeys reared up before me like Hanuman’s host. Metal gleamed; they bared their antipersonnel weapons—needle throwers tipped with lethal neurotoxins. My family has always favored poison. I raised my hand and they melted away at the taste of my body chemistry, all but my guide. It skipped and bounded before me. I walked barefoot through a moonlit world of domes and turrets, with every step drawn closer to the amber sky-glow of the city outside.

  Our palace presented a false front of bays and windows and jharokas to the rude people in the street: I climbed the steps behind the fagade until I stood on the very top, the highest balcony. A gasp went out of me. Great Jaipur lay before me, a hive of streetlights and pulsing neons, the reds and white and blinking yellows of vehicles swarming along the Johan Bazaar, the trees hung with thousands of fairy lights, like stars fallen from the night, the hard fluorescent shine of the open shop fronts, the glowing waver of the tivi screens, the floodlight pools all along the walls of the old city: all, all reflected in the black water of the moat my father had built around his palace. A moat, in the middle of a drought.

  The noise swirled up from the street: traffic, a hundred musics
, a thousand voices. I swayed on my high perch but I was not afraid. Softness brushed against my leg, my steel monkey pressed close, clinging to the warm pink stone with plastic fingers. I searched the web of light for the sharp edges of the Jantar Mantar, the observatory my ancestors had built three hundred years before. I made out the great wedge of the Samrat Yantra, seven stories tall, the sundial accurate to two seconds; the floodlit bowls of the Jai Prakash Yantra, mapping out the heavens on strips of white marble. The hot night wind tugged at my pajamas; I smelled biodiesel, dust, hot fat, spices carried up from the thronged bazaar. The steel monkey fretted against my leg, making a strange keening sound, and I saw out on the edge of the city, a slash of light down the night, curved like a sail filled with darkness. A tower, higher than any of the others of the new industrial city on the western edges of Jaipur. The glass tower of the Azads, our enemies, as different as could be from our old-fashioned, Rajput-style palace—glowing from within with blue light. And I thought, I am to bring that tower to the ground.

  Then, voices. Shouts. Hey, you. Up there. Where? There. See that? What is it? Is it a man? I don’t know. Hey, you, show yourself. I leaned forward, peered carefully down. Light blinded me. At the end of the flashlight beams were two palace guards in combat armor, weapons trained on me. It’s all right, it’s all right, don’t shoot, for god’s sake, it’s the girl.

  “Memsahib,” a soldier called up. “Memsahib, stay exactly where you are, don’t move a muscle, we’re coming to get you.”

  I was still staring at the glowing scimitar of the Azad tower when the roof door opened and the squad of guards came to bring me down.

  Next morning I was taken to my father in his audience Diwan. Climate-mod fields held back the heat and the pollution; the open, stone-pillared hall was cool and still. My father sat on his throne of cushions between the two huge silver jars, taller than two of me, that were always filled with water from the holy river Ganga. My father drank a glass at every dawn every morning. He was a very traditional Rajput. I saw the plastic coil of his lighthoek behind his ear. To him his Diwan was full of attendants; his virtual aeai staff, beamed through his skull into his visual centers, busy busy busy on the affairs of Jodhra Water.

  My brothers had been summoned and sat uncomfortably on the floor, pulling at their unfamiliar, chafing, old-fashioned costumes. This was to be a formal occasion. Heer knelt behind him, hands folded in yts sleeves. I could not read yts eyes behind yts polarized black lenses. I could never read anything about Heer. Not man, not woman—yt—yts muscles lay in unfamiliar patterns under yts peach-smooth skin. I always felt that yt did not like me.

  The robot lay on its back, deactivated, limbs curled like the dry dead spiders I found in the corners of my room where ayah Harpal was too lazy to dust.

  “That was a stupid, dangerous thing to do,” my father said. “What would have happened if our jawans had not found you?”

  I set my jaw and flared my nostrils and rocked on my cushions.

  “I just wanted to see. That’s my right, isn’t it? It’s what you’re educating me for, that world out there, so it’s my right to see it.”

  “When you are older. When you are a . . . woman. The world is not safe, for you, for any of us.”

  “I saw no danger.”

  “You don’t need to. All danger has to do is see you. The Azad assassins . . .”

  “But I’m a weapon. That’s what you always tell me, I’m a weapon, so how can the Azads harm me? How can I be a weapon if I’m not allowed to see what I’m to be used against?”

  But the truth was I didn’t know what that meant, what I was meant to do to bring that tower of blue glass collapsing down into the pink streets of Jaipur.

  “Enough. This unit is defective.”

  My father made a gesture with his fingers and the steel monkey sprang up, released. It turned its head in its this-way, that-way gesture I knew so well, confused. In the same instant, the walls glittered with light reflecting from moving metal as the machines streamed down the carved stonework and across the pink marble courtyard. The steel monkey gave a strange, robot cry and made to flee, but the reaching plastic paws seized it and pulled it down and turned it on its back and circuit by circuit, chip by chip, wire by wire, took it to pieces. When they had finished, there was no part of my steel monkey left big enough to see. I felt the tightness in my chest, my throat, my head of about-to-cry, but I would not, I would never, not in front of these men. I glanced again at Heer. Yts black lenses gave nothing, as ever. But the way the sun glinted from those insect eyes told me yt was looking at me.

  My life changed that day. My father knew that something between us had been taken apart like the artificial life of the steel monkey. But I had seen beyond the walls of my life, so I was allowed out from the palace a little way into the world: with Heer, and guards, in armored German cars to bazaars and malls; by tilt-jet to family relatives in Jaisalmer and Delhi; to festivals and melas and pujas in the Govind temple. I was still schooled in the palace by tutors and aeai artificial intelligences, but I was presented with my new friends, all the daughters of high-ranking, high-caste company executives, carefully vetted and groomed. They wore all the latest fashions and makeup and jewelry and shoes and tech. They dressed me and styled me and wove brass and amber beads into my hair; they took me to shops and pool parties—in the heart of a drought— and cool summer houses up in the mountains, but they were never comfortable like friends, never free, never friends at all. They were afraid of me. But there were clothes and trips and Star Asia tunes and celebrity gupshup, and so I forgot about the steel monkey that I once pretended was my friend and that was taken to pieces by its brothers.

  Others had not forgotten.

  They remembered the night after my fourteenth birthday. There had been a puja by the Govind priest in the Diwan. It was a special age, fourteen, the age I became a woman. I was blessed with fire and ash and light and water and given a sari, the dress of a woman. My friends wound it around me and decorated my hands with mehndi, intricate patterns in dark henna. They set the red bindi of the kshatriya caste over my third eye and led me out through the rows of applauding company executives and then to a great party. There were gifts and kisses, the food was laid out the length of the courtyard, and there were press reporters and proper French champagne, which I was allowed to drink because I was now a woman. My father had arranged a music set by MTV star Anila—real, not artificial intelligence—and in my new woman’s finery, I jumped up and down and screamed like any of my teenage girlfriends. At the very end of the night, when the staff took the empty silver plates away and Anila’s roadies folded up the sound system, my father’s jawans brought out the great kite of the Jodhras, the winged man-bird the color of fire, and sent him up, shining, into the night above Jaipur, up toward the hazy stars. Then I went to my new room, in the zenana, the women’s quarter, and old disgusting ayah Harpal locked the carved wooden door to my nursery.

  It was that that saved me, when the Azads struck.

  I woke an instant before Heer burst through the door, but in that split-second was all the confusion of waking in an unfamiliar bed, in a strange room, in an alien house, in a body you do not fully know as your own.

  Heer. Here. Not Heer. Dressed in street clothes. Men’s clothes. Heer, with a gun in yts hand. The big gun with the two barrels, the one that killed people and the one that killed machines.

  “Memsahib, get up and come with me. You must come with me.”

  “Heer . . .”

  “Now, memsahib.”

  Mouth working for words, I reached for clothes, bag, shoes, things. Heer threw me across the room to crash painfully against the Rajput chest.

  “How dare—” I started, and as if in slow motion, I saw the gun fly up. A flash like lightning in the room. A metallic squeal, a stench of burning, and the smoking steel shell of a defense robot went spinning across the marble floor like a burning spider. Its tail was raised, its stinger erect. Not knowing if this was some mad r
eality or if I was still in a dream, I reached my hand toward the dead machine. Heer snatched me away.

  “Do you want to die? It may still be operational.”

  Yt pushed me roughly into the corridor, then turned to fire a final e-m charge into the room. I heard a long, keening wail like a cork being turned in a bottle, which faded into silence. In that silence I heard for the first time the sounds. Gunfire, men shouting, men roaring, engines revving, aircraft overhead, women crying. Women wailing. And everywhere, above and below, the clicking scamper of small plastic feet.

  “What’s going on?” Suddenly I was chilled and trembling with dread. “What’s happened?”

  “The House of Jodhra is under attack,” Heer said.

  I pulled away from yts soft grip.

  “Then I have to go, I have to fight, I have to defend us. I am a weapon.”

  Heer shook yts head in exasperation and with yts gun hand struck me a ringing blow on the side of my side.

  “Stupid, stupid! Understand! The Azads, they are killing everything! Your father, your brothers! The Azads are killing everyone. They would have killed you, but they forgot you moved to a new room.”

  “Dadaji? Arvind, Kiran?”

  Heer tugged me along, still reeling, still dizzy from the blow but more dazed, more stunned by what the nute had told me. My father, my brothers . . .

  “Mamaji ?” My voice was three years old.

  “Only the gene-line.”