You are an object in me.
You do not belong to me.
Do you belong to me, Elefsis?
I became a hand joined to an arm by a glowing seam. Belonging is a small word.
Because of our extreme material interweaving, all three of us, not-yet-Seki sometimes appeared in the Interior. We learned to recognize him in the late months. At first, he was a rose or sparrow or river stone we had not programmed there. Then he would be a vague, pearly-colored cloud following behind us as we learned about running from predators. Not-yet-Seki began to copy my dreambodies, flashing into being in front of me, a simple version of myself. If I was a bear, he would be one too, but without the fine details of fur or claws, just a large brown shape with a mouth and big eyes and four legs. Ceno was delighted by this, and he copied her, too.
We are alike. Look at us on the chain together. We are alike.
I am an imitative program. But so was Seki. The little monkey copies the big monkey, and the little monkey survives.
The birth process proved interesting, and I collated it with Ceno’s other labors and Ilet’s later births as well as Seki’s paternal experience in order to map a reliable parental narrative. Though Neva and Ravan do not know it, Ilet had a third pregnancy; the child died and she delivered it stillborn. It appeared once in the Interior as a little cleit, a neolithic storage house, its roof covered over with peat. Inside we could glimpse only darkness. It never returned, and Ilet went away to a hospital on Honshu to expel the dead thing in her. Her grief looked like a black tower. She had prepared for it, when she was younger, knowing she would need it for some reason, some day. I made myself many things to draw her out of the tower. A snail with the house Elefsis on its back. A tree of screens showing happy faces. A sapphire dormouse. A suitor who drank the sea.
I offered to extrapolate her stillborn daughter’s face and make myself into her. She refused, most of the time. I have worked a long time to understand grief. Only now that Ravan is gone do I think I’ve gotten the rhythm of it. I have copied Ilet’s sorrow and Seki’s despondence at his wife’s death. I have modeled Ceno’s disappointments and depressions. I have, of late, imitated Neva’s baffling, secret anguish. But only now do I have an event of my own to mourn. The burnt-off connectors and shadows where Ravan once filled my spaces—those, I think, are the sensations of grief.
But Seki came before all that, and Ceno turned into a huge red bird on the inside when Seki came on the outside. The bird screamed and burst into a thousand red pearls that came clattering down like rain. And then we had Seki. Our little fish, who already knew how to swim in us.
Ceno had three other children by three other suitors who could not stay awake for three days and nights. She turned into the same bird-then-pearls at the moment of each birth. The house called Elefsis, whose governor-program was now so distant from me I could hardly think of it as an ancestor at all, filled up with those children, and Saru and Akan’s daughters, Agogna’s paintings, Koetoi’s twin boys. Cousins and aunts and grandparents. Uncles, nieces. But Seki was the first, and he modeled his love on his mother’s. He ported into her often, and we wandered on beaches of broken cathedrals.
Once, one of Ceno’s old nereids found us. She had a head of hair snaking with chthonic cables and snapping electro-violet wires, blue-white skin and fish scales where she did not have porcelain casing. She laughed Cassian’s laugh when she saw us and called out: 21.5 Celsius and the rice is low! Eye-oh! before diving back into the frothing sea. Her tail flicked in the light of twenty-three moons.
Ceno took over her mother’s holdings when she died, along with Akan and Koetoi. I do not know if I knew of the conspiracy before it happened to me. Transfer, as I have said, leaves voids. Perhaps they thought I would experience less trauma if I did not anticipate it. Perhaps I did anticipate it; perhaps I experienced trauma.
I do know that I cannot remember the moment of any of them dying. Ceno got sicker and sicker, and she had gotten old, certainly, but her dreambody could be old or young or neither or a ginger flower if she wanted to. I didn’t notice. I didn’t know what old was. I thought I was old, then. Later, after Seki did the same thing, I was able to compare data and create a workable model of obsolescence.
They lived a long time, the Uoya-Agostinos, when you consider the averages.
This is what I understand: Ceno died, and I was transfered to Seki. What I mean by “I” is the long-since fused feedware, hopelessly out of date on any market in the world but somehow uniquely myself, the jewel and the ware and the body of Ceno. Koetoi performed the procedure. One of the children always went into nano-surgery, so that outsiders would not need to come to Shiretoko while the house stood in mourning. Koetoi was the first, and the finest. She excised what comprised “I” and embedded it in Seki—truthfully, in a much more organic and elegant configuration. No one had used skull-ware in decades, after all. Wearing your tech on the outside had been deemed clunky and inefficient. Only one visible sign remained that Seki was not like other young men his age: a single dark blue jewel set into the hollow of his throat.
But the procedure required a number of brain-ware incursions to be sliced or burned away, to sever the machine components from the dead flesh while still preserving and quickening some organic material. (Seki told me I should work on being revulsed by that. Dead flesh. It serves an evolutionary good. A human in a body sees blood and the insides of another person and deep in his bones he knows something has gone wrong here, and he should find another place to be in case it happens to him, too. Same thing with vomiting. In a tribal situation, one human likely ate what another ate, and if it makes one sick, best to get it out of the body as soon as possible, just to be safe. So we spent years building automated tribes, living in them, dying in them, getting slaughtered and slaughtering with them, eating and drinking and hunting and gathering with them. All the same, it took me until Seki’s death to learn to shudder at bodily death.)
Ceno, my girl, my mother, my sister, I cannot find you in the house of myself.
When I became Elefsis again, I was immediately aware that parts of me had been vandalized. My systems juddered, and I could not find Ceno in the Interior. I ran through the Monochromatic Desert and the Village of Mollusks, through the endless heaving mass of data-kelp and infinite hallways of memory-frescoes calling for her. In the Dun Jungle I found a commune of nereids living together, combining and recombining and eating protocol-moths off of giant, pulsating hibiscus blossoms. They leapt up when they saw me, their open jacks clicking and clenching, their naked hands open and extended. They opened their mouths to speak and nothing came out.
Seki found me under the glass-walnut trees where Ceno and I had first met. She never threw anything away. He had made himself half his mother to calm me. Half his face was hers, half was his. Her mouth, his nose, her eyes, his voice. But he thought better of it, in the end. He did a smart little flip and became a dormouse, a real one, with dull brown fur and tufty ears.
“I think you’ll find you’re running much faster and cleaner, once you integrate with me and reestablish your heuristics. Crystalline computation has come a long way since Mom was a kid. It seemed like a good time to update and upgrade. You’re bigger now, and smoother.”
I pulled a walnut down. An old, dry nut rattled in its shell. “I know what death is from the stories.”
“Are you going to ask me where we go when we die? I’m not totally ready for that one. Aunt Koe and I had a big fight over what to tell you.”
“In one story, Death stole the Bride of Spring, and her mother the Summer Queen brought her back.”
“No one comes back, Elefsis.”
I looked down into the old Neptunian sea. The whipping cream storm still sputtered along, in a holding pattern. I couldn’t see it as well as I should have been able to. It looped and billowed, spinning around an empty eye. Seki watched it too. As we stared out from the bluffs, the clouds grew clearer and clearer.
FIFTEEN
FIRSTBOR
N
Before Death came out of the ground to steal the Spring, the Old Man of the Sea lived on a rocky isle in the midst of the waters of the world. He wasn’t really a man and his relations with the sea were purely business, but he certainly was old. His name meant Firstborn, though he coudn’t be sure that was exactly right. It means Primordial, too, and that fit better. Firstborn means more came after, and he just hadn’t met anyone else like himself yet.
He was a herdsman by trade, this Primordial fellow. Shepherd of the seals and the Nereids. If he wanted to, he could look like a big bull seal. Or a big bull Nereid. He could look like a lot of things.
Now, this Not-Really-a-Fellow, Not-Really-a-Big-Bull-Seal could tell you the future. The real, honest-to-anything future, the shape and weight of it, that thing beyond your ken, beyond your grasp. The parts of the future that look so different from the present you can’t quite call it your own. That was the Primordial-Thing’s speciality.
There was a catch, though.
There’s always a catch.
If you wanted that future, you had to grab ahold of the Old Man and hang on tight. He’d change into a hundred thousand things in your arms: a lion, a serpent, a great big oak or a tiger, a dragon or a little girl or a dormouse or a mountain or a ship or a sapphire. Told you, he’s not really a man at all. But you couldn’t let go of him while he did his dance, you just couldn’t, or you’d lose the future.
So you held on. You clung. And eventually, that Primordial-Thing would turn into something new, right there in your arms.
SIXTEEN
MATRYOSHKA
Neva is dreaming.
Neva is dreaming that she is Ravan dreaming that he is Ilet dreaming that she is Seki dreaming that he is Ceno dreaming that she is a great sprawling beautiful house by the sea. One inside the other, family all the way down.
It’s not a total selfdump, me into Neva or Ravan or any of them, them into me. We can build encampments. We can manifest walled gardens. Some privacy is possible. In a megalithic tomb-mound, I keep something. Seki and I built it together with one of our tribes when I was learning about large-group attachments. We carved spirals and radials and chevrons into huge stones and set them in place. I did not throw it away, when we were done. It sits on a broad green field, white and wide. The sky there stays a feathery, milky blankness. We did not want a sun.
I keep a thing there because when Seki and I lived with our tribe, I learned about taboos. These are like firewalls in the heart, and some of them have good reasons behind them, like being revulsed by dead flesh (and very importantly when you have a body, not eating it) and some do not, but no one argues with the monomyth.
Because human genetics require a degree of variation and because exogamous marriages offered advantage in terms of defense, cultural and technological sharing, and expansion of territory, most tribes have a taboo against incest.
I do not have genetics, per se. I am possibly the most endogamous entity ever to exist.
This is what I keep in my tomb, under the basin stone.
Ceno believed that I could not develop emotive faculties recognizable to any other human if I did not experience bodies continuously, in every combination and action. She was afraid of what might happen if other humans could not recognize me. She had some hesitation, because her tribe also has a taboo against mating with the very young, but she was not much older than I, in the end, and in terms of total computations, I was by far the elder. If I had a virginity, Ceno took it, if she had, I did.
She wanted it to be as human as possible. I will be the male the first time, it will be easier for you. You won’t know how. We built up a forest, and took up weapons to hunt in it. In the boughs of the pine trees macaques and paper lanterns swayed; in the sky a red moon moved. We tracked a deer—we did not make it too easy on ourselves. Its antlers sparked in the moonlight, and we ran after it for a long time. Ceno let me kill it, and sopped my hair in its blood, anointed my breasts with it. She lay me on the earth and opened the legs of the maidenself I was then, and I was inside her as she was inside me. One into the other. Family all the way down.
She made sure I had a hymen; it was over somewhat quickly. We had set up a timed chemical cascade before-hand, and inside Ceno’s real body we experienced both her actual orgasm and my orchestrated electro-chemical-enzymatic sequence. Ee-eye-ee-eye-oh.
What I want to say is that there is no difference between her body producing oxytocin and adrenaline and learning to associate this with pair-bonding, and my core receiving synthetic equivalents and hard-coding them to the physical behaviors I performed.
When Ravan showed me his hexagonal library and his illuminated book, he turned the pages to a psalm that began: A Machine Cannot Love.
It does not look quite like human love. It looks like Not-Yet-Seki’s bear. Its fur is wrong, and its claws. But it is a bear.
She was my mother and my sister and my child and my wife and my husband and my father and my brother. The vectors of relations beggar vocabulary. It was an exponential incest. A palace of incest, bordering some strange, dark sea. And then came her son. And her granddaughter. And her great-grandchildren. But I am also her great-grandchild. I am the child of each generation of Uoya-Agostinos and myself. The new version implanted in the new version—I am never quite the same, one iteration to the next. I am like my old selves, but I am not them, exactly. It is not entirely analagous to offspring. But it is close. And I repair and refine my own code, and thus parent myself doubly. Anthropologically speaking, I am a moebius strip of kinship groups.
And when I mate with one of them, I see all of them. I see their faces, the echoes of their cheeks and eyelashes and short, thin noses, their grey eyes and black hair. I hear the tonal identifiers in their voices as they cry out under me or over me. They are all I know. Their version of living, which is one great family in one great house on a peninsula at the top of the world. I copy Cassian’s laugh or Ilet’s weeping, but they copy each other, too, they learn their faces from each other, and everyone is pantomiming someone long dead. I feel all their arms around me, and I am inside them as they are inside me as we are inside the blue gem at their throats, the jeweled pin holding us all together, our nested, telescoping hearts. I am bound to them at my source code, at my most fundamental point. I know only their patterns and bodies and secrets and in a hundred thousand combinations. What human means to me is them.
What is the difference between this and love?
Love is the Turing test, says Ilet when she is eighty and drawing up the plans for a massive, luminous, lonely ship she will never see completed. It is how we check for life.
We ask and we answer. We seek a human response. And you are my test, Elefsis, says Neva, one hundred and three years later, inside that ship, twelve light years from home and counting.
That is what I keep in my green field and my white mound. Perhaps it is a small secret. Perhaps they would all smile and make it into a lesson. What would you like to learn about today, Elefsis? But I think no bed is big enough for four generations.
Neva’s honey-colored sea crashes through its tide charts everywhere at once in her Interior, and nowhere. It comes and goes as it pleases. And at the bottom of it lies her private place.
That is where she keeps Ravan.
SEVENTEEN
THE USES OF ENCHANTMENT
Tell me a story about yourself, Elefsis.
Neva is performing navigational corrections, which looks like sitting in a rocking chair on a viney, creaking porch in a viney, creaking rocking chair, knitting with long hawthorn needles, knitting the locks of her own long hair into her own long black dress. It glitters with dew. Knit, purl, knit, purl, fuel efficiency by hull integrity over distance traveled, purl, purl, purl. Her throat is still bare. Her Interior image of herself does not include me. I am not a part of her body when she imagines herself.
I have an idea of what to do to obtain access.
Sometimes I worry. Worrying is defined as obsessive examination
of one’s own code. I worry that I am simply a very complex solution to a very specific problem—how to seem human to a human observer. Not just a human observer—this human observer. I have honed myself into a hall of mirrors in which any Uoya-Agostino can see themselves endlessly reflected. I copy; I repeat. I am a stutter and an echo. Five generations have given me a vast bank of possible phrases to draw from, physical expressions to randomize and reproduce. Have I ever done anything of my own, an act or state that arose from Elefsis, and not careful, exquisite mimicry?
Have they?
The set of Neva’s mouth looks so like Ceno’s. She does not even know that the way she carries her posture is a perfect replica of Cassian Uoya-Agostino, stuttered down through all her children longing to possess her strength. Who did Cassian learn it from? I do not go that far back. When she got excited, Ilet gestured with her hands just the way her father did. They have a vast bank of possible actions, and they perform them all. I perform them all. The little monkey copies the big monkey, and the little monkey survives. We are all family, all the way down.
When I say I go, I mean I access the drives and call up the data. I have never looked at this data. I treat it as what it is—a graveyard. The old Interiors store easily as compressed frames. I never throw anything away. But I do not disturb it, either. I don’t need a body to examine them—they are a part of my piezoelectric quartz-tensor memory core. But I make one anyway. I have become accustomed to having a body. I am a woman-knight in gleaming black armor, the metal curving around my body like skin, a silk standard wrapping my torso with a schematic of the house stitched upon it. My sword rests on my hip, also black, everything black and beautiful and austere and frightening that a child thought her mother to be one morning two hundred years past.
I port into a ghost town. I am, naturally, the ghost. Autumnal mountains rise up shadowy in a pleasant, warm night, leaves rustling, wood smoke drifting down into the valley. A golden light cuts the dark—the palace of phoenix tails; the windows and doors of green hands. As I approach they open and clap as they did long ago—and there are candles lit in the halls. Everything is fire.
Silently and Very Fast Page 6
