Other Anthologies Edited by John Joseph Adams
Armored
Brave New Worlds
By Blood We Live
Federations
The Improbable Adventures of Sherlock Holmes
Lightspeed: Year One
The Living Dead
The Living Dead 2
Seeds of Change
Under the Moons of Mars: New Adventures on Barsoom
Wastelands
The Way of the Wizard
Forthcoming Anthologies Edited by John Joseph Adams
Dead Man’s Hand
Epic
The Mad Scientist’s Guide to World Domination
Robot Uprisings (co-edited with Daniel H. Wilson)
STORIES OF PARALLEL WORLDS
edited by
John Joseph Adams
NIGHT SHADE BOOKS
SAN FRANCISCO
Other Worlds Than These © 2012 by John Joseph Adams
This edition of Other Worlds Than These
© 2012 by Night Shade Books
Jacket illustration and design by Cody Tilson
Interior layout and design by Amy Popovich
Introduction, story notes, and arrangement
© 2012 by John Joseph Adams.
Pages 555-557 represent an extension of this copyright page.
All rights reserved
First Edition
ISBN: 978-1-59780-434-9
Night Shade Books
http://www.nightshadebooks.com
“Go then, there are other worlds than these.”
–Jake Chambers, to Roland Deschain of Gilead
[from The Gunslinger by Stephen King]
TABLE OF CONTENTS
Foreword Lev Grossman
Introduction John Joseph Adams
Moon Six Stephen Baxter
A Brief Guide to Other Histories Paul McAuley
Crystal Halloway and the Forgotten Passage Seanan McGuire
An Empty House with Many Doors Michael Swanwick
Twenty-Two Centimeters Gregory Benford
Ana’s Tag William Alexander
Nothing Personal Pat Cadigan
The Rose Wall Joyce Carol Oates
The Thirteen Texts of Arthyria John R. Fultz
Ruminations in an Alien Tongue Vandana Singh
Ten Sigmas Paul Melko
Magic for Beginners Kelly Link
[a ghost samba] Ian McDonald
The Cristóbal Effect Simon McCaffery
Beyond Porch and Portal E. Catherine Tobler
Signal to Noise Alastair Reynolds
Porridge on Islac Ursula K. Le Guin
Mrs. Todd’s Shortcut Stephen King
The Ontological Factor David Barr Kirtley
Dear Annabehls Mercurio D. Rivera
The Goat Variations Jeff VanderMeer
The Lonely Songs of Laren Dorr George R. R. Martin
Of Swords and Horses Carrie Vaughn
Impossible Dreams Tim Pratt
Like Minds Robert Reed
The City of Blind Delight Catherynne M. Valente
Flower, Mercy, Needle, Chain Yoon Ha Lee
Angles Orson Scott Card
The Magician and the Maid and Other Stories Christie Yant
Trips Robert Silverberg
For Further Reading Ross E. Lockhart
FOREWORD
LEV GROSSMAN
When I read The Chronicles of Narnia as a child, it didn’t so much introduce me to the idea that there was another world as confirm my already grave suspicions on the subject. Even at the tender age of eight I was—as I suspect you were, and are, if you’re reading this book—one of reality’s natural critics. Oh, I knew that the real world had its good points. One must be charitable after all. Candy, for example, and cats, and hot baths. But by and large the material was just a bit thin. The jokes weren’t funny, the catering was uneven, and the less said about one’s fellow players the better. I had a powerful urge to see what was on in the next theater over.
Until I read The Lion, the Witch and the Wardrobe—and Alice’s Adventures in Wonderland, and The Phantom Tollbooth, and The Wonderful Wizard of Oz, and The Chronicles of Amber—I thought I was the only one who felt that way. Of course this can’t be all there is: this ludicrous excuse for a universe can only be a rough draft, a temporary substitute, the amateur opening act before the main event, which will be more magical, more exciting, more meaningful, more ecologically sound and otherwise superior in every way.
This wasn’t actually the point of any of those books, of course. That fact was lost on me then, but it isn’t now. Now I understand that the children in the Narnia books went to another world in order to imbibe crucial life lessons at the paws of the lion-god Aslan. Then when they were deported back to England at the end of the book they could experience reality, such as it was, with a renewed appreciation, and they could spread the Word of Jesuslan to the unenlightened.
That would have been the “correct” lesson to draw from The Chronicles of Narnia, but if any child has ever read those books correctly I will eat my hat. When he wrote them Lewis unwittingly let loose a monster of an idea, one even more powerful than the idea he was actually trying to put across. The lesson you receive from The Chronicles of Narnia is that reality is not where it’s at, my friend, so get out by any point of egress you can find and get into somewhere better.
Of course, Lewis didn’t invent that idea. It’s an old fantasy, far older than Narnia—far older, I suspect, than Christianity. The idea that you can enter another world, generally heaven or some heaven-analog, without having to die first exists in any number of religions; it is technically known as ascension, or assumption, or (my personal favorite) translation. The Virgin Mary managed it, as did Elijah, and for that matter Bilbo and Frodo Baggins. It was given new life in the twentieth century, and a new spin, pun intended, by the so-called many-worlds interpretation of quantum theory, which posits the idea that all possible universes are in fact real, and the multiple possible outcomes of every event spawn multiple universes in which each of those outcomes is realized. Schrödinger’s cat is dead in one, and alive and purring in another. This theory is actually taken seriously by quite a few non-insane physicists.
Far more compelling would be a very-many-worlds hypothesis, in which all universes exist, both the possible and the impossible, but unfortunately no one sane believes that, not even an old traveler in the realms of gold like me. Fortunately there is a device, entirely real, which can take you into those other realities. Not permanently, but for short, ecstatic flights that are very much worth taking. You’re lucky enough to be holding one such device in your hands right now. As Aslan would say: further up and further in.
INTRODUCTION
JOHN JOSEPH ADAMS
What if you could not only travel any location in the world, but to any possible world? That is the central conceit of this anthology. Or, to be more precise, it aims to collect the best stories that fall into one of two categories: parallel worlds stories or portal fantasies.
A portal fantasy is a story in which a person from one world (usually the “real” world) is transported to some Other World (via some magical or unexplained means), usually one full of impossibilities and generally much stranger than the one they come from.
A parallel worlds story is one in which a person from one world (usually the “real” world) is transported to some Other World (via some scientific/technological means), usually a parallel universe/alternate reality either just slightly different than the one they left, or else vastly different, with different physical laws, but strictly scientifically plausible.
As you can see from the parallels in those two descriptions, the portal fantasy and the
parallel worlds story are essentially two sides of the same coin; heads, you get fantasy, tails you get science fiction, but in each the characters’ journey is essentially the same: to explore and wonder at these strange Other Worlds...or to do their damnedest to get back home.
When I first set out to assemble this anthology, I had been thinking primarily of parallel worlds fiction, until the above realization occurred to me. Once it did, I knew that if I were to consider one side of the coin I had to also consider the other, and at that point the entire anthology clicked into place.
(Accordingly, it felt to me like the two types of story should be in dialogue with each other in the context of the anthology, so I did not separate them in the table of contents; instead, both types of story are mixed together throughout the book. It should also be noted that I shied away from including any stories that are primarily based on time travel—as time travel stories are their own genre, though of course time travel does, in essence, create parallel worlds.)
The tropes of Other Worlds fiction have fired the imaginations of millions of readers over the years. The portal fantasy has the earliest roots, with prominent early examples including The Wonderful Wizard of Oz, Alice’s Adventures in Wonderland, and The Chronicles of Narnia. The tradition has continued, with modern day writers picking up the torch, such as Stephen King (The Dark Tower), Philip Pullman (His Dark Materials), and Lev Grossman (The Magicians).
Although one might assume that parallel worlds stories are of a more recent vintage, the hypothetical idea of multiple universes has actually been around since the late nineteenth century, and, indeed, some early examples of parallel worlds fiction can be found in the works of science fiction’s most prominent early practitioner, H. G. Wells. (However, it is fair to say that the majority of this type of story has been written after the many-worlds interpretation theory of quantum mechanics was first postulated and popularized in the late ’50s.) For parallel worlds stories, there are fewer obvious classics to reference, but there are The Gods Themselves by Isaac Asimov, The Female Man by Joanna Russ, and The Big Time by Fritz Leiber, with recent examples including The Neanderthal Parallax trilogy by Robert J. Sawyer, The Mirage by Matt Ruff, and Alastair Reynolds’s Absolution Gap.
(For more Other Worlds novel-length works, see the “For Further Reading” appendix located at the end of this anthology.)
So let’s take a trip through the looking glass...or into the universe next door. Thirty different Other Worlds await you; to visit the first, simply turn the page...
MOON SIX
STEPHEN BAXTER
Stephen Baxter was born in Liverpool, England. With a background in math and engineering, he is the author of over fifty novels and over a hundred published short stories. He has collaborated with Sir Arthur C. Clarke and is working on a new collaboration with Sir Terry Pratchett. Among his awards are BSFA Awards, the Philip K. Dick Award, and Locus, Asimov, and Analog awards. His latest novel is Stone Spring, first of a new series.
Bado was alone on the primeval beach of Cape Canaveral, in his white lunar-surface pressure suit, holding his box of Moon rocks and sampling tools in his gloved hand.
He lifted up his gold sun-visor and looked around. The sand was hard and flat. A little way inland, there was a row of scrub pines, maybe ten feet tall.
There were no ICBM launch complexes here.
There was no Kennedy Space Center, in fact: no space programme, evidently, save for him. He was stranded on this empty, desolate beach.
As the light leaked out of the sky, an unfamiliar Moon was brightening.
Bado glared at it. “Moon Six,” he said. “Oh, shit.”
He took off his helmet and gloves. He picked up his box of tools and began to walk inland. His blue overshoes, still stained dark grey from lunar dust, left crisp Moonwalk footprints in the damp sand of the beach.
Bado drops down the last three feet of the ladder and lands on the foil-covered footpad. A little grey dust splashes up around his feet.
Slade is waiting with his camera. “Okay, turn around and give me a big smile. Atta boy. You look great. Welcome to the Moon.” Bado can’t see Slade’s face, behind his reflective golden sun-visor.
Bado holds onto the ladder with his right hand and places his left boot on the Moon. Then he steps off with his right foot, and lets go of the LM. And there he is, standing on the Moon.
The suit around him is a warm, comforting bubble. He hears the hum of pumps and fans in the PLSS—his backpack, the Portable Life Support System—and feels the soft breeze of oxygen across his face.
He takes a halting step forward. The dust seems to crunch beneath his feet, like a covering of snow: there is a firm footing beneath a soft, resilient layer a few inches thick. His footprints are miraculously sharp, as if he’s placed his ridged overshoes in fine, damp sand. He takes a photograph of one particularly well-defined print; it will persist here for millions of years, he realises, like the fossilised footprint of a dinosaur, to be eroded away only by the slow rain of micrometeorites, that echo of the titanic bombardments of the deep past.
He looks around.
The LM is standing in a broad, shallow crater. Low hills shoulder above the close horizon. There are craters everywhere, ranging from several yards to a thumbnail width, the low sunlight deepening their shadows.
They call the landing site Taylor Crater, after that district of El Lago—close to the Manned Spacecraft Center in Houston—where he and Fay have made their home. This pond of frozen lava is a relatively smooth, flat surface in a valley once flooded by molten rock. Their main objective for the flight is another crater a few hundred yards to the west that they’ve named after Slade’s home district of Wildwood. Surveyor 7, an unmanned robot probe, set down in Wildwood a few years before; the astronauts are here to sample it.
This landing site is close to Tycho, the fresh, bright crater in the Moon’s southern highlands. As a kid Bado had sharp vision. He was able to see Tycho with his naked eyes, a bright pinprick on that ash-white surface, with rays that spread right across the face of the full Moon.
Now he is here.
Bado turns and bounces back towards the LM.
After a few miles he got to a small town.
He hid his lunar pressure suit in a ditch, and, dressed in his tube-covered cooling garment, snuck into someone’s back yard. He stole a pair of jeans and a shirt he found hanging on the line there.
He hated having to steal; he didn’t plan on having to do it again.
He found a small bar. He walked straight in and asked after a job. He knew he couldn’t afford to hesitate, to hang around figuring what kind of world he’d finished up in. He had no money at all, but right now he was clean-shaven and presentable. A few days of sleeping rough would leave him too dirty and stinking to be employable.
He got a job washing glasses and cleaning out the john. That first night he slept on a park bench, but bought himself breakfast and cleaned himself up in a gas station john.
After a week, he had a little money saved. He loaded his lunar gear into an old trunk, and hitched to Daytona Beach, a few miles up the coast.
They climb easily out of Taylor.
Their first Moonwalk is a misshapen circle which will take them around several craters. The craters are like drill holes, the geologists say, excavations into lunar history.
The first stop is the north rim of a hundred-yard-wide crater they call Huckleberry Finn. It is about three hundred yards west of the LM.
Bado puts down the tool carrier. This is a hand-held tray, with an assortment of gear: rock hammers, sample bags, core tubes. He leans over, and digs into the lunar surface with a shovel. When he scrapes away the grey upper soil he finds a lighter grey, just under the surface.
“Hey, Slade. Come look at this.”
Slade comes floating over. “How about that. I think we found some ray material.” Ray material here will be debris from the impact which formed Tycho.
Lunar geology has been shaped by the big m
eteorite impacts which pounded its surface in prehistory. A main purpose of sending this mission so far south is to keep them away from the massive impact which created the Mare Imbrium, in the northern hemisphere. Ray material unpolluted by Imbrium debris will let them date the more recent Tycho impact.
And here they have it, right at the start of their first Moonwalk.
Slade flips up his gold visor so Bado can see his face, and grins at him. “How about that. We is looking at a full-up mission here, boy.”
They finish up quickly, and set off at a run to the next stop. Slade looks like a human-shaped beach ball, his suit brilliant white, bouncing over the beach-like surface of the Moon. He is whistling.
They are approaching the walls of Wildwood Crater. Bado is going slightly uphill, and he can feel it. The carrier, loaded up with rocks, is getting harder to carry too. He has to hold it up to his chest, to keep the rocks from bouncing out when he runs, and so he is constantly fighting the stiffness of his pressure suit.
“Hey, Bado,” Slade says. He comes loping down the slope. He points. “Take a look.”
Bado has, he realises, reached the rim of Wildwood Crater. He is standing on top of its dune-like, eroded wall. And there, planted in the crater’s centre, is the Surveyor. It is less than a hundred yards from him. It is a squat, three-legged frame, like a broken-off piece of a LM.
Slade grins. “Does that look neat? We got it made, Bado.” Bado claps his commander’s shoulder. “Outstanding, man.” He knows that for Slade, getting to the Surveyor, bringing home a few pieces of it, is the finish line for the mission.
Bado looks back east, the way they have come. He can see the big, shallow dip in the land that is Taylor, with the LM resting at its centre like a toy in the palm of some huge hand. It is a glistening, filmy construct of gold leaf and aluminium, bristling with antennae, docking targets, and reaction control thruster assemblies.
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