“Can I?” Millie squeals. Susan nods, and Millie races down the hall to the back door. She loves the outdoors, as I have noted in the past. I have never emulated her, but I’ve analyzed her at length. In many ways, she reminds me of her grandmother, from whom she gets her name. Both are blank slates where new experiences can be drawn every day. But where Millie’s slate fills in a little more each day, Mildred’s is erased bit by bit.
That third part of me wonders when I think things like that: where did that come from? I suspect that the psychological models that I build create resonances in other parts of my net. It is an interesting phenomenon to observe.
Susan and Mildred talk about Susan’s job, about her plans to redecorate her house, and about the concert she just saw with Paul. Susan mostly talks about herself, because that’s a safe and comfortable topic far removed from Mildred’s health.
But then the conversation takes a bad turn, one she can’t ignore. It starts so simply, when Mildred asks, “Susan, can you get me some juice?”
Susan rises from her chair. “Yes, mother. What kind would you like?”
Mildred frowns, and her voice rises. “Not you, Susan.” She points at me, and I freeze, hoping to keep things calm.
But Susan is not calm. I can see her fear in her eyes as she says, “No, mother, I’m Susan. That’s the attendant.” No one ever calls me an android in Mildred’s presence. Her mind has withdrawn too far to grasp the idea of an artificial being.
Mildred’s mouth draws into a tight line. “I don’t know who you are, but I know Susan when I see her. Susan, get this person out of here!”
“Mother . . .” Susan reaches for Mildred, but the old woman recoils from the younger.
I touch Susan on the sleeve. “Please . . . Can we talk in the hall?” Susan’s eyes are wide, and tears are forming. She nods and follows me.
In the hallway, I expect Susan to slap me. She is prone to outbursts when she’s afraid. Instead, she surprises me by falling against me, sobbing. I update her emulation profile with notes about increased stress and heightened fears.
“It’s all right, Mrs. Owens.” I would pat her back, but her profile warns me that would be too much familiarity. “It’s all right. It’s not you, she’s having another bad day.”
Susan pulls back and wipes her eyes. “I know . . . It’s just . . .”
“I know. But here’s what we’ll do. Let’s take a few minutes, and then you can take her juice in. Mildred will have forgotten the incident, and you two can talk freely without me in the room.”
She sniffs. “You think so?” I nod. “But what will you do?”
“I have tasks around the house.”
“Oh, could you go out and keep an eye on Millie? Please? She gets into the darnedest things.”
So I spend much of the day playing with Millie. She calls me Mr. Robot, and I call her Miss Millie, which makes her laugh. She shows me frogs from the creek, and she finds insects and leaves and flowers, and I find their names in online databases. She delights in learning the proper names of things, and everything else that I can share.
* * *
Today I was nobody. Mildred slept for most of the day, so I “slept” as well. She woke just now. “I’m hungry” was all she said, but it was enough to wake my empathy net.
* * *
Today I am Paul, and Susan, and both Nurse Judys. Mildred’s focus drifts. Once I try to be her father, but no one has ever described him to me in detail. I try to synthesize a profile from Henry and Paul; but from the sad look on Mildred’s face, I know I failed.
* * *
Today I had no name through most of the day, but now I am Paul again. I bring Mildred her dinner, and we have a quiet, peaceful talk about long-gone family pets—long-gone for Paul, but still present for Mildred.
I am just taking Mildred’s plate when alerts sound, both audible and in my internal communication net. I check the alerts and find a fire in the basement. I expect the automatic systems to suppress it, but that is not my concern. I must get Mildred to safety.
Mildred looks around the room, panic in her eyes, so I try to project calm. “Come on, Ma. That’s the fire drill. You remember fire drills. We have to get you into your chair and outside.”
“No!” she shrieks. “I don’t like outside.”
I check the alerts again. Something has failed in the automatic systems, and the fire is spreading rapidly. Smoke is in Mildred’s room already.
I pull the wheelchair up to the bed. “Ma, it’s real important we do this drill fast, okay?”
I reach to pull Mildred from the bed, and she screams. “Get away! Who are you? Get out of my house!”
“I’m—” But suddenly I’m nobody. She doesn’t recognize me, but I have to try to win her confidence. “I’m Paul, Ma. Now let’s move. Quickly!” I pick her up. I’m far too large and strong for her to resist, but I must be careful so she doesn’t hurt herself.
The smoke grows thicker. Mildred kicks and screams. Then, when I try to put her into her chair, she stands on her unsteady legs. Before I can stop her, she pushes the chair back with surprising force. It rolls back into the medical monitors, which fall over onto it, tangling it in cables and tubes.
While I’m still analyzing how to untangle the chair, Mildred stumbles toward the bedroom door. The hallway outside has a red glow. Flames lick at the throw rug outside, and I remember the home oxygen tanks in the sitting room down the hall.
I have no time left to analyze. I throw a blanket over Mildred and I scoop her up in my arms. Somewhere deep in my nets is a map of the fire in the house, blocking the halls, but I don’t think about it. I wrap the blanket tightly around Mildred, and I crash through the picture window.
We barely escape the house before the fire reaches the tanks. An explosion lifts and tosses us. I was designed as a medical assistant, not an acrobat, and I fear I’ll injure Mildred; but though I am not limber, my perceptions are thousands of times faster than human. I cannot twist Mildred out of my way before I hit the ground, so I toss her clear. Then I land, and the impact jars all of my nets for 0.21 seconds.
When my systems stabilize, I have damage alerts all throughout my core, but I ignore them. I feel the heat behind me, blistering my outer cover, and I ignore that as well. Mildred’s blanket is burning in multiple places, as is the grass around us. I scramble to my feet, and I roll Mildred on the ground. I’m not indestructible, but I feel no pain and Mildred does, so I do not hesitate to use my hands to pat out the flames.
As soon as the blanket is out, I pick up Mildred, and I run as far from the house as I can get. At the far corner of the garden near the creek, I gently set Mildred down, unwrap her, and feel for her thready pulse.
Mildred coughs and slaps my hands. “Get away from me!” More coughing. “What are you?”
The “what” is too much for me. It shuts down my emulation net, and all I have is the truth. “I am Medical Care Android BRKCX-01932-217JH-98662, Mrs. Owens. I am your caretaker. May I please check that you are well?”
But my empathy net is still online, and I can read terror in every line in Mildred’s face. “Metal monster!” she yells. “Metal monster!” She crawls away, hiding under the lilac bush. “Metal!” She falls into an extended coughing spell.
I’m torn between her physical and her emotional health, but physical wins out. I crawl slowly toward her and inject her with a sedative from the medical kit in my chassis. As she slumps, I catch her and lay her carefully on the ground. My empathy net signals a possible shutdown condition, but my concern for her health overrides it. I am programmed for long-term care, not emergency medicine, so I start downloading protocols and integrating them into my storage as I check her for bruises and burns. My kit has salves and painkillers and other supplies to go with my new protocols, and I treat what I can.
But I don’t have oxygen, or anything to help with Mildred’s coughing. Even sedated, she hasn’t stopped. All of my emergency protocols assume I have access to oxygen, so I d
idn’t know what to do.
I am still trying to figure that out when the EMTs arrive and take over Mildred’s care. With them on the scene, I am superfluous, and my empathy net finally shuts down.
* * *
Today I am Henry. I do not want to be Henry, but Paul tells me that Mildred needs Henry by her side in the hospital. For the end.
Her medical records show that the combination of smoke inhalation, burns, and her already deteriorating condition have proven too much for her. Her body is shutting down faster than medicine can heal it, and the stress has accelerated her mental decline. The doctors have told the family that the kindest thing at this point is to treat her pain, say goodbye, and let her go.
Henry is not talkative at times like this, so I say very little. I sit by Mildred’s side and hold her hand as the family comes in for final visits. Mildred drifts in and out. She doesn’t know this is goodbye, of course.
Anna is first. Mildred rouses herself enough to smile, and she recognizes her granddaughter. “Anna . . . child . . . How is . . . Ben?” That was Anna’s boyfriend almost six years ago. From the look on Anna’s face, I can see that she has forgotten Ben already, but Mildred briefly remembers.
“He’s . . . He’s fine, Grandma. He wishes he could be here. To say—to see you again.” Anna is usually the strong one in the family, but my empathy net says her strength is exhausted. She cannot bear to look at Mildred, so she looks at me; but I am emulating her late grandfather, and that’s too much for her as well. She says a few more words, unintelligible even to my auditory inputs. Then she leans over, kisses Mildred, and hurries from the room.
Susan comes in next. Millie is with her, and she smiles at me. I almost emulate Mr. Robot, but my third part keeps me focused until Millie gets bored and leaves. Susan tells trivial stories from her work and from Millie’s school. I can’t tell if Mildred understands or not, but she smiles and laughs, mostly at appropriate places. I laugh with her.
Susan takes Mildred’s hand, and the Henry part of me blinks, surprised. Susan is not openly affectionate under normal circumstances, and especially not toward Mildred. Mother and daughter-in-law have always been cordial, but never close. When I am Paul, I am sure that it is because they are both so much alike. Paul sometimes hums an old song about “just like the one who married dear old dad,” but never where either woman can hear him. Now, as Henry, I am touched that Susan has made this gesture but saddened that she took so long.
Susan continues telling stories as we hold Mildred’s hands. At some point Paul quietly joins us. He rubs Susan’s shoulders and kisses her forehead, and then he steps in to kiss Mildred. She smiles at him, pulls her hand free from mine, and pats his cheek. Then her arm collapses, and I take her hand again.
Paul steps quietly to my side of the bed and rubs my shoulders as well. It comforts him more than me. He needs a father, and an emulation is close enough at this moment.
Susan keeps telling stories. When she lags, Paul adds some of his own, and they trade back and forth. Slowly their stories reach backwards in time, and once or twice Mildred’s eyes light as if she remembers those events.
But then her eyes close, and she relaxes. Her breathing quiets and slows, but Susan and Paul try not to notice. Their voices lower, but their stories continue.
Eventually the sensors in my fingers can read no pulse. They have been burned, so maybe they’re defective. To be sure, I lean in and listen to Mildred’s chest. There is no sound: no breath, no heartbeat.
I remain Henry just long enough to kiss Mildred goodbye. Then I am just me, my empathy net awash in Paul and Susan’s grief.
I leave the hospital room, and I find Millie playing in a waiting room and Anna watching her. Anna looks up, eyes red, and I nod. New tears run down her cheeks, and she takes Millie back into Mildred’s room.
I sit, and my nets collapse.
* * *
Now I am nobody. Almost always.
The cause of the fire was determined to be faulty contract work. There was an insurance settlement. Paul and Susan sold their own home and put both sets of funds into a bigger, better house in Mildred’s garden.
I was part of the settlement. The insurance company offered to return me to the manufacturer and pay off my lease, but Paul and Susan decided they wanted to keep me. They went for a full purchase and repair. Paul doesn’t understand why, but Susan still fears she may need my services—or Paul might, and I may have to emulate her. She never admits these fears to him, but my empathy net knows.
I sleep most of the time, sitting in my maintenance alcove. I bring back too many memories that they would rather not face, so they leave me powered down for long periods.
But every so often, Millie asks to play with Mr. Robot, and sometimes they decide to indulge her. They power me up, and Miss Millie and I explore all the mysteries of the garden. We built a bridge to the far side of the creek; and on the other side, we’re planting daisies. Today she asked me to tell her about her grandmother.
Today I am Mildred.
NEBULA AWARD WINNER
BEST SHORT STORY
HUNGRY DAUGHTERS OF STARVING MOTHERS
ALYSSA WONG
Alyssa Wong studies fiction in Raleigh, NC, and really, really likes crows. Her story, “Hungry Daughters of Starving Mothers,” won the 2015 Nebula Award for Best Short Story, and her fiction has been shortlisted for the Pushcart Prize, the Bram Stoker Award, the Locus Award, and the Shirley Jackson Award. Her work has been published in the Magazine of Fantasy & Science Fiction, Strange Horizons, Nightmare Magazine, Black Static, and Tor.com, among others. She can be found online at www.crashwong.net and on Twitter as @crashwong.
FROM THE AUTHOR
I wrote the first draft of the story that became “Hungry Daughters” at the Clarion Writers’ Workshop, in a fit of desperation, with twelve hours until deadline, on very little sleep. Needless to say, it wasn’t a good draft. And it was a very different story (more condensed, but more tentative). But it was a fun draft, and it set the tone for the relationships at the core of “Hungry Daughters.” I didn’t touch the story again until a couple of years later, after I had lived in NYC for a year (where “Hungry Daughters” is set). “Hungry Daughters” is also a distinctly Asian American story; its four central female characters are from different generations and different backgrounds, and they all have different ways of dealing with issues of diaspora, being an outsider in a world that they belong to but feel dissonance and disconnection with, and staying true to who they are—whoever and whatever they are.
The hardest part of putting “Hungry Daughters” together was that I knew nothing about food when I started writing it, and food is a central element in this story! I spent a couple of years watching every Food Network and cooking show I could find.
My editor was Wendy Wagner for the Queers Destroy Horror! special issue of Nightmare Magazine. “Hungry Daughters” is my first explicitly queer female-centric story, and submitting it to Queers Destroy Horror! was a deliberate personal decision on my part to come out to the SFF community. I’m very grateful that Wendy selected it for the issue, and I’m glad that there are projects like Queers Destroy Horror! that celebrated work by marginalized communities, for marginalized communities. Having visible, unapologetic representation means a lot to me, and I hope that projects like Queers Destroy Horror! encourage writers to be bold, brave, and true to themselves in their stories.
As my date—Harvey? Harvard?—brags about his alma mater and Manhattan penthouse, I take a bite of overpriced kale and watch his ugly thoughts swirl overhead. It’s hard to pay attention to him with my stomach growling and my body ajitter, for all he’s easy on the eyes. Harvey doesn’t look much older than I am, but his thoughts, covered in spines and centipede feet, glisten with ancient grudges and carry an entitled, Ivy League stink.
“My apartment has the most amazing view of the city,” he’s saying, his thoughts sliding long over each other like dark, bristling snakes. Each one is as thick around a
s his Rolex-draped wrist. “I just installed a Jacuzzi along the west wall so that I can watch the sun set while I relax after getting back from the gym.”
I nod, half-listening to the words coming out of his mouth. I’m much more interested in the ones hissing through the teeth of the thoughts above him.
She’s got perfect tits, lil’ handfuls just waiting to be squeezed. I love me some perky tits.
I’m gonna fuck this bitch so hard she’ll never walk straight again.
Gross. “That sounds wonderful,” I say as I sip champagne and gaze at him through my false eyelashes, hoping the dimmed screen of my iPhone isn’t visible through the tablecloth below. This dude is boring as hell, and I’m already back on Tindr, thumbing through next week’s prospective dinner dates.
She’s so into me, she’ll be begging for it by the end of the night.
I can’t wait to cut her up.
My eyes flick up sharply. “I’m sorry?” I say.
Harvey blinks. “I said, Argentina is a beautiful country.”
Pretty little thing. She’ll look so good spread out all over the floor.
“Right,” I say. “Of course.” Blood’s pulsing through my head so hard it probably looks like I’ve got a wicked blush.
I’m so excited, I’m half hard already.
You and me both, I think, turning my iPhone off and smiling my prettiest smile.
The waiter swings by with another bottle of champagne and a dessert menu burned into a wooden card, but I wave him off. “Dinner’s been lovely,” I whisper to Harvey, leaning in and kissing his cheek, “but I’ve got a different kind of dessert in mind.”
Ahhh, go the ugly thoughts, settling into a gentle, rippling wave across his shoulders. I’m going to take her home and split her all the way from top to bottom. Like a fucking fruit tart.
Nebula Awards Showcase 2017 Page 10
