The Unreal and the Real - Vol 2 - Outer Space, Inner Lands

by Ursula K. Le Guin

  Kaza Agad had been killed; the Lords of Awaga Castle finally disclosed the fact, but not the circumstances. A year later, Merriment radioed her lander and left Seggri for Hain. Her recommendation was to observe and avoid. The Stabiles, however, decided to send another pair of observers; these were both women, Mobiles Alee Iyoo and Zerin Wu. They lived for eight years on Seggri, after the third year as First Mobiles; Iyoo stayed as Ambassador another fifteen years. They made Resehavanar’s Choice as “all the truth slowly.” A limit of two hundred visitors from offworld was set. During the next several generations the people of Seggri, becoming accustomed to the alien presence, considered their own options as members of the Ekumen. Proposals for a planetwide referendum on genetic alteration were abandoned, since the men’s vote would be insignificant unless the women’s vote were handicapped. As of the date of this report the Seggri have not undertaken major genetic alteration, though they have learned and applied various repair techniques, which have resulted in a higher proportion of full-term male infants; the gender balance now stands at about 12:1.

  The following is a memoir given to Ambassador Eritho to Ves in 93/1569 by a woman in Ush on Seggri.

  You asked me, dear friend, to tell you anything I might like people on other worlds to know about my life and my world. That’s not easy! Do I want anybody anywhere else to know anything about my life? I know how strange we seem to all the others, the half-and-half races; I know they think us backward, provincial, even perverse. Maybe in a few more decades we’ll decide that we should remake ourselves. I won’t be alive then; I don’t think I’d want to be. I like my people. I like our fierce, proud, beautiful men, I don’t want them to become like women. I like our trustful, powerful, generous women, I don’t want them to become like men. And yet I see that among you each man has his own being and nature, each woman has hers, and I can hardly say what it is I think we would lose.

  When I was a child I had a brother a year and a half younger than me. His name was Ittu. My mother had gone to the city and paid five years’ savings for my sire, a Master Champion in the Dancing. Ittu’s sire was an old fellow at our village fuckery; they called him “Master Fallback.” He’d never been a champion at anything, hadn’t sired a child for years, and was only too glad to fuck for free. My mother always laughed about it—she was still suckling me, she didn’t even use a preventive, and she tipped him two coppers! When she found herself pregnant she was furious. When they tested and found it was a male fetus she was even more disgusted at having, as they say, to wait for the miscarriage. But when Ittu was born sound and healthy, she gave the old sire two hundred coppers, all the cash she had.

  He wasn’t delicate like so many boy babies, but how can you keep from protecting and cherishing a boy? I don’t remember when I wasn’t looking after Ittu, with it all very clear in my head what Little Brother should do and shouldn’t do and all the perils I must keep him from. I was proud of my responsibility, and vain, too, because I had a brother to look after. Not one other motherhouse in my village had a son still living at home.

  Ittu was a lovely child, a star. He had the fleecy soft hair that’s common in my part of Ush, and big eyes; his nature was sweet and cheerful, and he was very bright. The other children loved him and always wanted to play with him, but he and I were happiest playing by ourselves, long elaborate games of make-believe. We had a herd of twelve cattle an old woman of the village had carved from gourd-shell for Ittu—people always gave him presents—and they were the actors in our dearest game. Our cattle lived in a country called Shush, where they had great adventures, climbing mountains, discovering new lands, sailing on rivers, and so on. Like any herd, like our village herd, the old cows were the leaders; the bull lived apart; the other males were gelded; and the heifers were the adventurers. Our bull would make ceremonial visits to service the cows, and then he might have to go fight with men at Shush Castle. We made the castle of clay and the men of sticks, and the bull always won, knocking the stick-men to pieces. Then sometimes he knocked the castle to pieces too. But the best of our stories were told with two of the heifers. Mine was named Op and my brother’s was Utti. Once our hero heifers were having a great adventure on the stream that runs past our village, and their boat got away from us. We found it caught against a log far downstream where the stream was deep and quick. My heifer was still in it. We both dived and dived, but we never found Utti. She had drowned. The Cattle of Shush had a great funeral for her, and Ittu cried very bitterly.

  He mourned his brave little toy cow so long that I asked Djerdji the cattleherd if we could work for her, because I thought being with the real cattle might cheer Ittu up. She was glad to get two cowhands for free (when Mother found out we were really working, she made Djerdji pay us a quarter-copper a day). We rode two big, goodnatured old cows, on saddles so big Ittu could lie down on his. We took a herd of two-year-old calves out onto the desert every day to forage for the edta that grows best when it’s grazed. We were supposed to keep them from wandering off and from trampling streambanks, and when they wanted to settle down and chew the cud we were supposed to gather them in a place where their droppings would nourish useful plants. Our old mounts did most of the work. Mother came out and checked on what we were doing and decided it was all right, and being out in the desert all day was certainly keeping us fit and healthy.

  We loved our riding cows, but they were serious-minded and responsible, rather like the grown-ups in our motherhouse. The calves were something else; they were all riding breed, not fine animals of course, just villagebred; but living on edta they were fat and had plenty of spirit. Ittu and I rode them bareback with a rope rein. At first we always ended up on our own backs watching a calf’s heels and tail flying off. By the end of a year we were good riders, and took to training our mounts to tricks, trading mounts at a full run, and hornvaulting. Ittu was a marvelous hornvaulter. He trained a big three-year-old roan ox with lyre horns, and the two of them danced like the finest vaulters of the great castles that we saw on the holos. We couldn’t keep our excellence to ourselves out in the desert; we started showing off to the other children, inviting them to come out to Salt Springs to see our Great Trick Riding Show. And so of course the adults got to hear of it.

  My mother was a brave woman, but that was too much for even her, and she said to me in cold fury, “I trusted you to look after Ittu. You let me down.”

  All the others had been going on and on about endangering the precious life of a boy, the Vial of Hope, the Treasurehouse of Life, and so on, but it was what my mother said that hurt.

  “I do look after Ittu, and he looks after me,” I said to her, in that passion of justice that children know, the birthright we seldom honor. “We both know what’s dangerous and we don’t do stupid things and we know our cattle and we do everything together. When he has to go to the castle he’ll have to do lots more dangerous things, but at least he’ll already know how to do one of them. And there he has to do them alone, but we did everything together. And I didn’t let you down.”

  My mother looked at us. I was nearly twelve, Ittu was ten. She burst into tears, she sat down on the dirt and wept aloud. Ittu and I both went to her and hugged her and cried. Ittu said, “I won’t go. I won’t go to the damned castle. They can’t make me!”

  And I believed him. He believed himself. My mother knew better.

  Maybe some day it will be possible for a boy to choose his life. Among your peoples a man’s body does not shape his fate, does it? Maybe some day that will be so here.

  Our Castle, Hidjegga, had of course been keeping their eye on Ittu ever since he was born; once a year Mother would send them the doctor’s report on him, and when he was five Mother and her wives took him out there for the ceremony of Confirmation. Ittu had been embarrassed, disgusted, and flattered. He told me in secret, “There were all these old men that smelled funny and they made me take off my clothes and they had these measuring things and they measured my peepee! And they said it was very good. They said i
t was a good one. What happens when you descend?” It wasn’t the first question he had ever asked me that I couldn’t answer, and as usual I made up the answer. “Descend means you can have babies,” I said, which, in a way, wasn’t so far off the mark.

  Some castles, I am told, prepare boys of nine and ten for the Severance, woo them with visits from older boys, tickets to games, tours of the park and the buildings, so that they may be quite eager to go to the castle when they turn eleven. But we “outyonders,” villagers of the edge of the desert, kept to the harsh old-fashioned ways. Aside from Confirmation, a boy had no contact at all with men until his eleventh birthday. On that day everybody he had ever known brought him to the Gate and gave him to the strangers with whom he would live the rest of his life. Men and women alike believed and still believe that this absolute severance makes the man.

  Vev Ushiggi, who had borne a son and had a grandson, and had been mayor five or six times, and was held in great esteem even though she’d never had much money, heard Ittu say that he wouldn’t go to the damned Castle. She came next day to our motherhouse and asked to talk to him. He told me what she said. She didn’t do any wooing or sweetening. She told him that he was born to the service of his people and had one responsibility, to sire children when he got old enough; and one duty, to be a strong, brave man, stronger and braver than other men, so that women would choose him to sire their children. She said he had to live in the Castle because men could not live among women. At this, Ittu asked her, “Why can’t they?”

  “You did?” I said, awed by his courage, for Vev Ushiggi was a formidable old woman.

  “Yes. And she didn’t really answer. She took a long time. She looked at me and then she looked off somewhere and then she stared at me for a long time and then finally she said, ‘Because we would destroy them.’”

  “But that’s crazy,” I said. “Men are our treasures. What did she say that for?”

  Ittu, of course, didn’t know. But he thought hard about what she had said, and I think nothing she could have said would have so impressed him.

  After discussion, the village elders and my mother and her wives decided that Ittu could go on practicing hornvaulting, because it really would be a useful skill for him in the Castle; but he could not herd cattle any longer, nor go with me when I did, nor join in any of the work children of the village did, nor their games. “You’ve done everything together with Po,” they told him, “but she should be doing things together with the other girls, and you should be doing things by yourself, the way men do.”

  They were always very kind to Ittu, but they were stern with us girls; if they saw us even talking with Ittu they’d tell us to go on about our work, leave the boy alone. When we disobeyed—when Ittu and I sneaked off and met at Salt Springs to ride together, or just hid out in our old playplace down in the draw by the stream to talk—he got treated with cold silence to shame him, but I got punished. A day locked in the cellar of the old fiber-processing mill, which was what my village used for a jail; next time it was two days; and the third time they caught us alone together, they locked me in that cellar for ten days. A young woman called Fersk brought me food once a day and made sure I had enough water and wasn’t sick, but she didn’t speak; that’s how they always used to punish people in the villages. I could hear the other children going by up on the street in the evening. It would get dark at last and I could sleep. All day I had nothing to do, no work, nothing to think about except the scorn and contempt they held me in for betraying their trust, and the injustice of my getting punished when Ittu didn’t.

  When I came out, I felt different. I felt like something had closed up inside me while I was closed up in that cellar.

  When we ate at the motherhouse they made sure Ittu and I didn’t sit near each other. For a while we didn’t even talk to each other. I went back to school and work. I didn’t know what Ittu was doing all day. I didn’t think about it. It was only fifty days to his birthday.

  One night I got into bed and found a note under my clay pillow: in the draw to-nt. Ittu never could spell; what writing he knew I had taught him in secret. I was frightened and angry, but I waited an hour till everybody was asleep, and got up and crept outside into the windy, starry night, and ran to the draw. It was late in the dry season and the stream was barely running. Ittu was there, hunched up with his arms round his knees, a little lump of shadow on the pale, cracked clay at the waterside.

  The first thing I said was, “You want to get me locked up again? They said next time it would be thirty days!”

  “They’re going to lock me up for fifty years,” Ittu said, not looking at me.

  “What am I supposed to do about it? It’s the way it has to be! You’re a man. You have to do what men do. They won’t lock you up, anyway, you get to play games and come to town to do service and all that. You don’t even know what being locked up is!”

  “I want to go to Seradda,” Ittu said, talking very fast, his eyes shining as he looked up at me. “We could take the riding cows to the bus station in Redang, I saved my money, I have twenty-three coppers, we could take the bus to Seradda. The cows would come back home if we turned them loose.”

  “What do you think you’d do in Seradda?” I asked, disdainful but curious. Nobody from our village had ever been to the capital.

  “The Ekkamen people are there,” he said.

  “The Ekumen,” I corrected him. “So what?”

  “They could take me away,” Ittu said.

  I felt very strange when he said that. I was still angry and still disdainful but a sorrow was rising in me like dark water. “Why would they do that? What would they talk to some little boy for? How would you find them? Twenty-three coppers isn’t enough anyway. Seradda’s way far off. That’s a really stupid idea. You can’t do that.”

  “I thought you’d come with me,” Ittu said. His voice was softer, but didn’t shake.

  “I wouldn’t do a stupid thing like that,” I said furiously.

  “All right,” he said. “But you won’t tell. Will you?”

  “No, I won’t tell!” I said. “But you can’t run away, Ittu. You can’t. It would be—it would be dishonorable.”

  This time when he answered his voice shook. “I don’t care,” he said. “I don’t care about honor. I want to be free!”

  We were both in tears. I sat down by him and we leaned together the way we used to, and cried a while; not long; we weren’t used to crying.

  “You can’t do it,” I whispered to him. “It won’t work, Ittu.”

  He nodded, accepting my wisdom.

  “It won’t be so bad at the Castle,” I said.

  After a minute he drew away from me very slightly.

  “We’ll see each other,” I said.

  He said only, “When?”

  “At games. I can watch you. I bet you’ll be the best rider and hornvaulter there. I bet you win all the prizes and get to be a Champion.”

  He nodded, dutiful. He knew and I knew that I had betrayed our love and our birthright of justice. He knew he had no hope.

  That was the last time we talked together alone, and almost the last time we talked together.

  Ittu ran away about ten days after that, taking the riding cow and heading for Redang; they tracked him easily and had him back in the village before nightfall. I don’t know if he thought I had told them where he would be going. I was so ashamed of not having gone with him that I could not look at him. I kept away from him; they didn’t have to keep me away any more. He made no effort to speak to me.

  I was beginning my puberty, and my first blood was the night before Ittu’s birthday. Menstruating women are not allowed to come near the Gates at conservative castles like ours, so when Ittu was made a man I stood far back among a few other girls and women, and could not see much of the ceremony. I stood silent while they sang, and looked down at the dirt and my new sandals and my feet in the sandals, and felt the ache and tug of my womb and the secret movement of the blood, and grieve
d. I knew even then that this grief would be with me all my life.

  Ittu went in and the Gates closed.

  He became a Young Champion Hornvaulter, and for two years, when he was eighteen and nineteen, came a few times to service in our village, but I never saw him. One of my friends fucked with him and started to tell me about it, how nice he was, thinking I’d like to hear, but I shut her up and walked away in a blind rage which neither of us understood.

  He was traded away to a castle on the east coast when he was twenty. When my daughter was born I wrote him, and several times after that, but he never answered my letters.

  I don’t know what I’ve told you about my life and my world. I don’t know if it’s what I want you to know. It is what I had to tell.

  The following is a short story written in 93/1586 by a popular writer of the city of Adr, Sem Gridji. The classic literature of Seggri was the narrative poem and the drama. Classical poems and plays were written collaboratively, in the original version and also by re-writers of subsequent generations, usually anonymous. Small value was placed on preserving a “true” text, since the work was seen as an ongoing process. Probably under Ekumenical influence, individual writers in the late sixteenth century began writing short prose narratives, historical and fictional. The genre became popular, particularly in the cities, though it never obtained the immense audience of the great classical epics and plays. Literally everyone knew the plots and many quotations from the epics and plays, from books and holo, and almost every adult woman had seen or participated in a staged performance of several of them. They were one of the principal unifying influences of the Seggrian monoculture. The prose narrative, read in silence, served rather as a device by which the culture might question itself, and a tool for individual moral self-examination. Conservative Seggrian women disapproved of the genre as antagonistic to the intensely cooperative, collaborative structure of their society. Fiction was not included in the curriculum of the literature departments of the colleges, and was often dismissed contemptuously—“fiction is for men.”