The Year's Best Science Fiction - Thirty-Third Annual Collection

by Gardner Dozois

  But what do I do? Claire ducked into a drugstore entrance. What can I do, what should I do? She did her best to steady her mind, analyze the situation. The jumps, the cuts, the vanishings and reappearances—they seemed to happen at moments of transition: entries and exits, sudden moves. If she found some way to game the system …

  Turning, Claire jumped through the drugstore door. And again, and again, and again. On her fifteenth jump, the trick worked, the environment glitched. Claire tumbled into a banquet hall, crashing into a tray-bearing waiter, scattering scallops and champagne flutes. “Sorry, sorry…” Dashing toward the hall doors, Claire tried again. Another round of jumping propelled her into a rowboat, somewhere out in the stinking bayou. Gators splashed and rolled in the muck, grunting and hissing as they fled from her intrusion. Claire jumped into the water and ducked under, sinking her feet in the creamy ooze. She kicked, launching herself into the air—

  And found herself, sodden with mud, near the bank of the river, in town.

  How many times would she have to do this? Searching the bank, Claire saw no promising doors. She threw herself into the river three more times. The third time, she emerged in a backyard swimming pool.

  And so, through portals and windows, falls and reversals, Claire skipped her way through the liminal evening, traversing a lottery of locations, careening in her soaked dress and dirty hair through car seats, lawn parties, gardens and gazebos, bedrooms where couples lay twined in dim beds. Sometimes she thought she saw Byron, hurrying through a downtown doorway or diving over the rail of a riverboat, moving in his own Lewis-Carroll quest through the evening’s hidden rabbit holes. Mostly, she saw hundreds of other adventurers, laughing people who leaped and jostled through doorways, running irreverent races in the night.

  At last, Claire stumbled out of a bait shop onto the dock, the ramshackle fishing shacks hung with buoys, the long span of planks laid out like a ruler to measure the expanse of her few remaining minutes—and there was the ferry, resting on the churn of its diesel engine, bearing Byron toward the far shore.

  “Claire,” he shouted over the water, and added something she couldn’t hear.

  Was it a freak of the fracturing environment, some cruel new distortion, that made the dock seem to lengthen as Claire ran? Was it a new break in that hopelessly broken world that made the planks passing under her feet seem infinite in number? By the time she came to the end of the dock, Byron and the ferry were in the middle of the river, and his call carried faintly down the boat’s fading wake.

  “Jump!”

  Was he mad? The distance was far too wide to swim.

  “Claire, I’m serious, jump!”

  And now, Claire understood: if it had worked before … a thousand-in-one chance …

  Far across the river, Byron was waving. Claire looked into the water. Briefly, she hesitated. And this was the moment she would think back to, a thousand times and a thousand again: this instant when she paused and held back, wondering how badly she wanted to spend eternity in one home, one world, with one man.

  The next instant, she had flung herself into the water. And perhaps this world made more sense than Claire thought. Perhaps the designers had known what they were doing after all. Because of all the cracks and rabbit holes in the environment, of all the possible locations in which she might emerge—

  She was splashing, floundering, on the far side of the river, and the ferry was a few yards away.

  Claire thrashed at the water, clawing her way forward, as the first of three chimes sounded over the water.

  She’d forgotten to kick off her shoes. Her skirt wrapped her legs. She couldn’t fall short, not after trying so hard, chasing potential romances down the bottomless vortex of an artificial night.

  The second chime made silver shivers pass across the water.

  So close. Claire tore at the waves, glimpsing, between the splashing of her arms, Byron calling from the ferry, leaning over the rail.

  As she gave a last, desperate swipe, the third chime rang in the coming of midnight, the sound reminding Claire, as it always would, of the teasing jingle of a set of keys.

  * * *

  Around bright tables, under lamps and music, the partygoers had gathered, to mingle and murmur and comment on the food. So much beauty to be savored, so much variety: so many men and women with whom to flirt and quip and dance away the hours of an endlessly eventful evening. And after tonight, there would be more, and still more—men and women to be savored, sipped, dispelled.

  If anyone noticed the woman who moved among them, searching the corners of crowded rooms; if anyone met her at the end of her dock, looking across the starlit water; if anyone heard her calling one name across the waves and throbbing music, they soon moved away. The party was just beginning, lively with romance, and the nights ahead were crowded with the smiles of unknown lovers.

  The Game of Smash and Recovery

  KELLY LINK

  Kelly Link is the author of four collections, Stranger Things Happen, Magic For Beginners, Pretty Monsters, and, most recently, Get in Trouble. With Gavin J. Grant, she runs Small Beer Press. Her stories have won a Hugo Award, three Nebula Awards, and three World Fantasy Awards, and she recently added another World Fantasy Award for her anthology Monstrous Affections, coedited with Grant. She can be reached on Twitter at @haszombiesinit.

  Here, she offers us a tale of love, loyalty, and filial affection where nothing whatsoever is even remotely as it seems.…

  If there’s one thing Anat knows, it’s this. She loves Oscar her brother and her brother, Oscar, loves her. Hasn’t Oscar raised Anat, practically from childhood? Picked Anat up when she’s fallen?Prepared her meals and lovingly tended to her scrapes and taught her how to navigate their little world? Given her skimmer ships, each faster and more responsive than the one before; the most lovely incendiary devices; a refurbished mob of Handmaids, with their sharp fingers, probing snouts, their furred bellies, their sleek and whiplike limbs?

  * * *

  Oscar called them Handmaids because they have so many fingers, so many ways of grasping and holding and petting and sorting and killing. Once a vampire frightened Anat, when she was younger. It came too close. She began to cry, and then the Handmaids were there, soothing Anat with their gentle stroking, touching her here and there to make sure that the vampire had not injured her, embracing her, while they briskly tore the shrieking vampire to pieces. That was not long after Oscar had come back from Home with the Handmaids. Vampires and Handmaids reached a kind of understanding after that. The vampires, encountering a Handmaid, sing propitiatory songs. Sometimes they bow their heads on their long white necks very low, and dance. The Handmaids do not tear them into pieces.

  * * *

  Today is Anat’s birthday. Oscar does not celebrate his own birthdays. Anat wishes that he wouldn’t make a fuss about hers, either. But this would make Oscar sad. He celebrates Anat’s accomplishments, her developmental progress, her new skills. She knows that Oscar worries about her, too. Perhaps he is afraid she won’t need him when she is grown. Perhaps he is afraid that Anat, like their parents, will leave. Of course this is impossible. Anat could never abandon Oscar. Anat will always need Oscar.

  * * *

  If Anat did not have Oscar, then who in this world would there be to love? The Handmaids will do whatever Anat asks of them, but they are built to inspire not love but fear. They are made for speed, for combat, for unwavering obedience. When they have no task, nothing better to do, they take one another to pieces, swap parts, remake themselves into more and more ridiculous weapons. They look at Anat as if one day they will do the same to her, if only she will ask.

  There are the vampires. They flock after Oscar and Anat whenever they go down to Home. Oscar likes to speculate on whether the vampires came to Home deliberately, as did Oscar, and Oscar and Anat’s parents, although of course Anat was not born yet. Perhaps the vampires were marooned here long ago in some crash. Or are they natives of Home? It seems unlikely that
the vampires’ ancestors were the ones who built the warehouses of Home, who went out into space and returned with the spoils that the warehouses now contain. Perhaps they are a parasite species, accidental passengers left behind when their host species abandoned Home for good. If, that is, the Warehouse Builders have abandoned Home for good. What a surprise, should they come home.

  Like Oscar and Anat, the vampires are scavengers, able to breathe the thin soup of Home’s atmosphere. But the vampires’ lustrous and glistening eyes, their jellied skin, are so sensitive to light they go about the surface cloaked and hooded, complaining in their hoarse voices. The vampires sustain themselves on various things, organic, inert, hostile, long hidden, that they discover in Home’s storehouses, but have a peculiar interest in the siblings. No doubt they would eat Oscar and Anat if the opportunity were to present itself, but in the meantime they are content to trail after, sing, play small pranks, make small grimaces of—pleasure? appeasement? threat displays?—that show off arrays of jaws, armies of teeth. It disconcerts. No one could ever love a vampire, except, perhaps, when Anat, who long ago lost all fear, watches them go swooping, sail-winged, away and over the horizon beneath Home’s scatter of mismatched moons.

  * * *

  On the occasion of her birthday, Oscar presents Anat with a gift from their parents. These gifts come from Oscar, of course. They are the gifts that the one who loves you, and knows you, gives to you not only out of love but out of knowing. Anat knows in her heart that their parents love her too, and that one day they will come home and there will be a reunion much better than any birthday. One day their parents will not only love Anat, but know her too. And she will know them. Anat dreads this reunion as much as she craves it. What will her life be like when everything changes? She has studied recordings of them. She does not look like them, although Oscar does. She doesn’t remember her parents, although Oscar does. She does not miss them. Does Oscar? Of course he does. What Oscar is to Anat, their parents must be to Oscar. Except: Oscar will never leave. Anat has made him promise.

  * * *

  The living quarters of the Bucket are cramped. The Handmaids take up a certain percentage of available space no matter how they contort themselves. On the other hand, the Handmaids are excellent housekeepers. They tend the algae wall, gather honey and the honeycomb and partition off new hives when the bees swarm. They patch up networks, teach old systems new tricks when there is nothing better to do. The shitter is now quite charming! The Get Clean rains down water on your head, bubbles it out of the walls, and then the floor drinks it up, cycles it faster than you can blink, and there it all goes down and out and so on for as long as you like, and never gets cold. There is, in fact, very little that Oscar and Anat are needed for on board the Bucket. There is so much that is needful to do on Home.

  For Anat’s birthday, the Handmaids have decorated all of the walls of the Bucket with hairy, waving clumps of luminous algae. They have made a cake. Inedible, of course, but quite beautiful. Almost the size of Anat herself, and in fact it somewhat resembles Anat if Anat were a Handmaid and not Anat. Sleek and armored and very fast. They have to chase the cake around the room and then hold it until Oscar finds the panel in its side. There are a series of brightly colored wires, and because it’s Anat’s birthday, she gets to decide which one to cut. Cut the wrong one, and what will happen? The Handmaids seem very excited. But then, Anat knows how Handmaids think. She locates the second, smaller panel, the one equipped with a simple switch. The cake makes an angry fizzing noise when Anat turns it off. Perhaps Anat and Oscar can take it down to Home and let the vampires have it.

  * * *

  The warehouses of Home are at this time only eighty percent inventoried. (This does not include the warehouses of the Stay Out Territory.)

  * * *

  Is Oscar ever angry at their parents for leaving for so long? It’s because of Anat that their parents left in the first place, and it is also because of Anat that Oscar was left behind. Someone had to look after her. Is he ever angry at Anat? There are long days in the Bucket when Oscar hardly speaks at all. He sits and Anat cannot draw him into conversation. She recites poems, tells jokes (Knock knock. Who’s there? Anat. Anat who? Anat is not a gnat that’s who), sends the Handmaids Homeward, off on expeditionary feints that almost though not quite land the Handmaids in the Stay Out Anat Absolutely No Trespassing Or So Help Me You Will Be Sorry Territory. On these days Oscar will listen without really listening, look at Anat without appearing to see her, summon the Handmaids back and never even scold Anat.

  Some part of Oscar is sometimes very far away. The way that he smells changes almost imperceptibly. As Anat matures, she has learned how to integrate and interpret the things that Oscar is not aware he is telling her; the peculiar advantages given to her by traits such as hyperosmia. But: no matter. Oscar always returns. He will suddenly be there behind his eyes again, reach up and pull her down for a hug. Then Oscar and Anat will play more of the games of strategy he’s taught her, the ones that Anat mostly wins now. Her second favorite game is Go. She loves the feel of the stones. Each time she picks one up, she lets her fingers tell her how much has worn away under Oscar’s fingers, under her own. They are making the smooth stones smoother. There is one black stone with a fracture point, a weakness invisible to the eye, nearly across the middle. She loses track of it sometimes, then finds it again by touch. Put enough pressure on it, and it would break in two.

  It will break one day no matter.

  They play Go. They cook Anat’s favorite meals, the ones that Oscar says are his favorites, too. They fall asleep together, curled up in nests the Handmaids weave for them out of the Handmaids’ own softer and more flexible limbs, listening to the songs the Handmaids have borrowed from the vampires of Home.

  * * *

  The best of all the games Oscar has taught Anat is Smash/Recovery. They play this on the surface of Home all long-cycle round. Each player gets a True Smash marker and False Smash marker. A True Recovery marker and a False Recovery marker.Each player in turn gets to move their False—or True—Smash marker—or Recovery marker—a distance no greater than the span of a randomly generated number. Or else the player may send out a scout. The scout may be a Handmaid, an unmanned scout, or a vampire (a gamble, to be sure, and so you get two attempts). A player may gamble and drop an incendiary device and blow up a target. Or claim a zone square where they believe a marker to be.

  Should you miscalculate and blow up a Recovery marker, or Retrieve a Smash marker, your opponent has won. The current Smash/Recovery game is the eighteenth that Oscar and Anat have played. Oscar won the first four games; Anat has won all the rest. Each game Oscar increases Anat’s starting handicap. He praises her each time she wins.

  Hypothetically, this current game will end when either Anat or Oscar has Retrieved the Recovery marker and Smashed the Smash marker of their opponent. Or the game will end when their parents return. The day is not here yet, but the day will come. The day will draw nearer and nearer until one day it is here. There is nothing that Anat can do about this. She cannot make it come sooner. She cannot postpone it. Sometimes she thinks—incorrect to think this, she knows, but still she thinks it—that on the day that she wins the game—and she is correct to think that she will win, she knows this too—her parents will arrive.

  * * *

  Oscar will not win the game, even though he has done something very cunning. Oscar has put his True markers, both the Smash and the Recovery, in the Stay Out Territory. He did this two long-cycles ago. He put Anat’s True markers there as well, and replaced them in the locations where she had hidden them with False markers recoded so they read as True. Did he suspect that Anat had already located and identified his markers? Was that why he moved them unlawfully? Is this some new part of the game?

  The rules of Smash/Recovery state that in Endgame players may physically access any and all markers they locate and correctly identify as True, and Anat has been curious about the Stay Out Territory for a
long time now. She has access to it, now that Oscar has moved his markers, and yet she has not called Endgame. Curiosity killed the Anat, Oscar likes to say, but there is nothing and no one on Home as dangerous as Anat and her Handmaids. Oscar’s move may be a trap. It is a test. Anat waits and thinks and delays without articulating to herself why she delays.

  * * *

  The present from Anat’s parents which is really a present from Oscar is a short recording. One parent holding baby Anat in her arms. Making little cooing noises, the way vampires do. The other parent holding up a tiny knitted hat. No Oscar. Anat hardly recognizes herself. Her parents she recognizes from other recordings. The parents have sent a birthday message, too. Dear Anat. Happy Birthday. We hope that you are being good for Oscar. We love you. We will be home soon! Before you know it!

  Anat’s present from Oscar is the code to apreviously unopened warehouse on Home. Oscar thinks he has been keeping this warehouse a secret. The initial inventory shows the warehouse is full of the kinds of things that the Handmaids are wild for. Charts that may or may not accurately map previously thought-to-be-uncharted bits and corners of space. Devices that will most likely prove to do nothing of interest, but can be taken apart and put to new uses. The Handmaids have never met an alloy they didn’t like.

  Information and raw materials. Anat and the Handmaids are bounded within the nutshell quarters of the orbit of Home’s farthest Moon. What use are charts? What good are materials, except for adornment and the most theoretical of educational purposes? For mock battles and silly games? Everything that Oscar and Anat discover is for future salvage, for buyers who can afford antiquities and rarities. Their parents will determine what is to be kept and what is to be sold and what is to be left for the vampires.