Lightspeed Magazine - October 2016

by John Joseph Adams [Ed. ]

  The woman’s voice dropped suddenly in volume and gained in intensity. Alison looked up at her quickly. The woman was staring back. Alison looked away.

  “And then a group of women hunted down and dispatched Charles S. Smith in an alley near his home. Mr. Smith was a married man and his victim, Edith Wilson, was pregnant, an invalid, and eleven years old. But this time the women wore sheets and could not be identified. Edith Wilson was perhaps the only female in Otsego County, New York, who could not have taken part.” Alison folded her napkin along the diagonal.

  “So no one could be tried. It was an inspiring and purging operation. It was copied in many little towns across the country. God knows, the women had access to sheets.”

  Alison laughed, but the woman was not expecting it, had not paused to allow for laughter. “And then Annie Oakley shot Frank Butler in a challenge match in Cincinnati.”

  “Excuse me,” said Alison. “I didn’t quite hear you.” But she really had and the woman continued anyway, without pausing or repeating.

  “She said it was an accident, but she was too good a shot. They hanged her for it. And then Grover Cleveland was killed by twelve sheeted women on the White House lawn. At teatime,” the woman said.

  “Wait a minute.” Alison stopped her. “Grover Cleveland served out two terms. Nonconsecutively. I’m sure.”

  The woman leaned into the candlelight, resting her chin on a bridge she made of her hands. “You’re right, of course,” she said. “That’s what happened here. But in another universe where the feminine force was just a little stronger in 1872, Grover Cleveland died in office. With a scone in his mouth and a child in New York.”

  “All right,” said Alison accommodatingly. Accommodation was one of Alison’s strengths. “But what difference does that make to us?”

  “I could take you there.” The woman pushed her hat back so that Alison could have seen her eyes if she wanted to. “The universe right next door. Practically walking distance.”

  The candle flame was casting shadows which reached and withdrew and reached at Alison over the table. In the unsteady light, the woman’s face flickered like a silent film star’s. Then she pulled back in her chair and sank into the darkness beyond the candle. The ball was on the ten-yard line and the bar was quiet. “I knew you were going to say that,” Alison said finally. “How did I know you were going to say that? Who would say that?”

  “Some lunatic?” the woman suggested.

  “Yes.”

  “Don’t you want to hear about it anyway? About my universe?” The woman smiled at her. An unperturbed smile. Nice even teeth. And a kind of confidence that was rare among the women Alison knew. Alison had noticed it immediately without realizing she was noticing. The way the woman sat back in her chair and didn’t pick at herself. Didn’t play with her hair. Didn’t look at her hands. The way she lectured Alison.

  “All right,” Alison said. She put the napkin down and fit her hands together, forcing herself to sit as still. “But first tell me about Laura Fair. My Laura Fair.”

  “Up until 1872 the two histories are identical,” the woman said. “Mrs. Fair married four times and shot her lover and was convicted and the conviction was overturned. She just never lectured. She planned to. She was scheduled to speak at Platt’s Hotel in San Francisco on November 11, 1872, but a mob of some two thousand men gathered outside the hotel and another two thousand surrounded the apartment building she lived in. She asked for police protection, but it was refused and she was too frightened to leave her home. Even staying where she was proved dangerous. A few men tried to force their way inside. She spent a terrifying night and never attempted to lecture again. She died in poverty and obscurity.

  “Fanny Hyde and Kate Stoddart were released anyway. I can’t find out what happened to the Marys. Edith Wilson was condemned by respectable people everywhere and cast out of her family.”

  “The eleven-year-old child?” Alison said.

  “In your universe,” the woman reminded her. “Not in mine. You don’t know much of your own history, do you? Name a great American woman.”

  The men at the bar were in an uproar. Alison turned to look. “Interception,” the man in the blue sweater shouted to her exultantly. “Did you see it?”

  “Name a great American woman,” Alison called back to him.

  “Goddamn interception with goal to go,” he said. “Eleanor Roosevelt?”

  “Marilyn Monroe,” said a man at the end of the bar.

  “The senator from California?” the woman asked. “Now that’s a good choice.”

  Alison laughed again. “Funny,” she said, turning back to the woman. “Very good.”

  “We have football, too,” the woman told her. “Invented in 1873. Outlawed in 1950. No one ever got paid to play it.”

  “And you have Elvis.”

  “No, we don’t. Not like yours. Of course not. I got this here.”

  “Interception,” the man in the blue sweater said. He was standing beside Alison, shaking his head with the wonder of it. “Let me buy you ladies a drink.” Alison opened her mouth and he waved his hand. “Something nonalcoholic for you,” he said. “Please. I really want to.”

  “Ginger ale, then,” she agreed. “No ice.”

  “Nothing for me,” said the woman. They watched the man walk back to the bar, and then, when he was far enough away not to hear, she leaned forward toward Alison. “You like men, don’t you?”

  “Yes,” said Alison. “I always have. Are they different where you come from? Have they learned to be honest and careful with women, since you kill them when they’re not?” Alison’s voice was sharper than she intended, so she softened the effect with a sadder question. “Is it better there?”

  “Better for whom?” The woman did not take her eyes off Alison. “Where I come from the men and women hardly speak to each other. First of all, they don’t speak the same language. They don’t here, either, but you don’t recognize that as clearly. Where I come from there’s men’s English and there’s women’s English.”

  “Say something in men’s English.”

  “‘I love you.’ Shall I translate?”

  “No,” said Alison. “I know the translation for that one.” The heaviness closed over her heart again. Not that it had ever gone away. Nothing made Alison feel better, but many things made her feel worse. The bartender brought her ginger ale. With ice. Alison was angry, suddenly, that she couldn’t even get a drink with no ice. She looked for the man in the blue sweater, raised the glass at him, and rattled it. Of course he was too far away to hear even if he was listening, and there was no reason to believe he was.

  “Two-minute warning,” he called back. “I’ll be with you in two minutes.”

  Men were always promising to be with you soon. Men could never be with you now. Alison had only cared about this once, and she never would again. “Football has the longest two minutes in the world,” she told the woman. “So don’t hold your breath. What else is different where you come from?” She sipped at her ginger ale. She’d been grinding her teeth recently—stress, the dentist said—and so the cold liquid made her mouth hurt.

  “Everything is different. Didn’t you ask for no ice? Don’t drink that,” the woman said. She called to the bartender. “She didn’t want ice. You gave her ice.”

  “Sorry.” The bartender brought another bottle and another glass. “Nobody told me no ice.”

  “Thank you,” Alison said. He took the other glass away. Alison thought he was annoyed. The woman didn’t seem to notice.

  “Imagine your world without a hundred years of adulterers,” she said. “The level of technology is considerably depressed. Lots of books never written because the authors didn’t live. Lots of men who didn’t get to be president. Lots of passing. Although it’s illegal. Men dressing as women. Women dressing as men. And the dress is more sexually differentiated. Codpieces are fashionable again. But you don’t have to believe me,” the woman said. “Come and see for yourself
. I can take you there in a minute. What would it cost you to just come and see? What do you have here that you’d be losing?”

  The woman gave her time to think. Alison sat and drank her ginger ale and repeated to herself the things her lover had said the last time she had seen him. She remembered them all, some of them surprisingly careless, some of them surprisingly cruel, all of them surprising. She repeated them again, one by one, like a rosary. The man who had left was not the man she had loved. The man she had loved would never have said such things to her. The man she had loved did not exist. She had made him up. Or he had. “Why would you want me to go?” Alison asked.

  “The universe is shaped by the struggle between two great forces. Sometimes a small thing can tip the balance. One more woman. Who knows?” The woman tilted her hat back with her hand. “Save a galaxy. Make new friends. Or stay here where your heart is. Broken.”

  “Can I come back if I don’t like it?”

  “Yes. Do you like it here?”

  She drank her ginger ale and then set the glass down, still half full. She glanced at the man in the blue sweater, then past him to the bartender. She let herself feel just for a moment what it might be like to know that she could finish this drink and then go home to the one person in the world who loved her.

  Never in this world. “I’m going out for a minute. Two minutes,” she called to the bartender. One minute to get back. “Don’t take my drink.”

  She stood and the other woman stood too, even taller than Alison had thought. “I’ll follow you. Which way?” Alison asked.

  “It’s not hard,” the woman said. “In fact, I’ll follow you. Go to the back. Find the door that says WOMEN and go on through it. I’m just going to pay for my drink and then I’ll be right along.”

  VIXENS was what the door actually said, across the way from the one marked GANDERS. Alison paused and then pushed through. She felt more than a little silly, standing in the small bathroom that apparently fronted two universes. One toilet, one sink, one mirror. Two universes. She went into the stall and closed the door. Before she had finished she heard the outer door open and shut again. “I’ll be right out,” she said. The toilet paper was small and unusually rough. The toilet wouldn’t flush. It embarrassed her. She tried three times before giving up.

  The bathroom was larger than it had been, less clean, and a row of urinals lined one wall. The woman stood at the sink, looking into the mirror, which was smaller. “Are you ready?” she asked and removed her breasts from behind Elvis, tossing them into a wire wastebasket. She turned. “Ready or not.”

  “No,” said Alison, seeing the face under the hat clearly for the first time. “Please, no.” She began to cry again, looking up at his face, looking down at his chest. ARE YOU LONESOME TONIGHT?

  “You lied to me,” she said dully.

  “I never lied,” he answered. “Think back. You just translated wrong. Because you’re that kind of woman. We don’t have women like you here now. And anyway, what does it matter whose side you play on? All that matters is that no one wins. Aren’t I right? Aren’t I?” He tipped his hat to her.

  © 1989 by Karen Joy Fowler. Originally published in What Might Have Been? Volume 1: Alternate Empires, edited by Gregory Benford and Martin H. Greenberg. Reprinted by permission of the author.

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  ABOUT THE AUTHOR

  Karen Joy Fowler is the author of six novels and three short story collections. Her first novel, Sarah Canary, won the Commonwealth medal for best first novel by a Californian; her third, Sister Noon, was a finalist for the PEN/Faulkner; and The Jane Austen Book Club was a New York Times bestseller. She has two Nebulas for short fiction, one being for the title story in the collection, What I Didn’t See. Another story, “The Pelican Bar,” recently won the Shirley Jackson and the World Fantasy Award. Her latest novel, We Are All Completely Beside Ourselves, came out from Putnam in May of 2013, and won the PEN/Faulkner Award and was also short-listed for the 2014 Man Booker Prize. She lives in Santa Cruz, California with her husband.

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  Fade To Red: Three Interviews About Sebold’s Mars Trilogy

  Stephen S. Power | 4220 words

  Fade to White:

  An Interview with Bryan Sebold, Director of The Mars Light

  Stephen S. Power

  Posted March 16, 2018 3:40 PM EDT

  The Mars Light began as a ten-minute short that Bryan Sebold made without a crew after wrapping his Google fantasy series Anvil of the Sun. Now it’s a five-part documentary, which NASA Films released today online and in select theaters. Mr. Sebold spoke with me via Skype about shooting remotely on Mars; about working with the Jet Propulsion Laboratory, which runs the Mars Rover project for NASA; and about what the Mars Light is, which the documentary reveals for the first time. Warning: Spoilers below.

  How did your short film Curiosity lead to you directing The Mars Light?

  It wasn’t so much the short, Stephen, as the research and techniques that went into it. I’ll be the first to admit that my homemade rover didn’t do the original justice and my color treatment was a better reflection of my Hollywood thinking than of the Martian landscape. What appealed to JPL was how I captured the tension of driving the rover across Gale, where every pebble can put years of training to the test. They were also impressed that I left my Curiosity outside Hanksville, Utah, not far from the Mars Desert Research Station, then controlled it and its cameras from a van several miles away. And they were amazed that my route for approaching the Mars Light almost perfectly mirrored their own.

  But the short isn’t really about the Light.

  No, and that’s the most important reason I got the gig. Like many, I really wanted to believe the flashes on Mount Sharp were something fantastic, but I knew deep down that, once we took a closer look, the Light would turn out to be nothing, just another pile of rocks that looks like a face. To me, that disappointment is the essence of ugliness, and I wanted to make something beautiful. Then it dawned on me: What if the real story of the Light was the curiosity it inspired and the journey it impelled? The desire to know, not the knowing?

  So the Light’s a MacGuffin?

  Yes! I’d have put it in a suitcase, but figuring that anything I showed would have been disappointing—or, worse, cliché—I simply ended with sunlight blooming in the lens.

  But now everyone’s seen Curiosity’s first images of the Light.

  Yes, which allowed me to take a similar approach, focusing on the climb, instead of the summit. That said, unless you’re Kubrick, you can only get away with something as imagistic as Curiosity for ten minutes. Otherwise you’d end up with one of those Norwegian slow TV shows where the camera sits on the bow of a ship for thirteen hours. Fortunately, with JPL’s cooperation, I was able to create more than enough compelling footage from Earth, and by stitching together still images from Mars like animation. The only thing JPL didn’t provide was a second rover so I could get two angles on each scene.

  Did they ever let you steer the real rover?

  The closest I got was putting my hand on a driver’s shoulder—briefly, because it annoyed her. I did plan out all the shots, though, first storyboarding, then working with mission control to get what I needed.

  What was it like to shoot remotely?

  Nerve-racking at first, but, well, Hitchcockian later. Hitch considered shooting a movie a chore because he’d already made the movie in his head while planning it. Similarly, so much planning went into what we did that the execution felt anticlimactic. That said, Curiosity was well-beyond its operating life and we could never be sure the rover wouldn’t get stuck at any moment while crossing Gale, so I was able to ratchet up the tension, like sending that Norwegian TV ship through a minefield. Playing off the drivers’ tensions made this easier. Several were upset they weren’t at the center of the documentary.

  JPL did bring some experience to the table, too.

  Absolutely. America’s been at this a long time. You know the footage of Apollo 17’s
Lunar Module taking off? That was taken remotely. Ed Fendell had Gene Cernan park the lunar buggy a certain distance from the module, then, seconds before liftoff, Fendell started sending commands at pre-arranged times to the camera mounted on the buggy so it would tilt up and follow the stage toward the mothership. Sadly, Cernan parked the buggy closer than he should have, and the module escaped what would have been an amazing tracking shot.

  So let me follow up my first question: If JPL could already shoot remotely, why bring you on?

  Because they didn’t want a film that looked like a home movie or, worse, security camera footage. They wanted a story with the rover as a character, an explorer, a knight errant, something to help reinvigorate the wonder of space adventure that people had before Star Wars made space feel familiar. I already knew what that story would be, and we both thought it would keep people from fast forwarding through the journey to get to the new information about the Light. Or not watching, reading some tweet about the Light instead, and going, “Huh, isn’t that interesting.”

  Before we get to the new information and, I have to confess it’s been killing me not to go there first—

  Stretch that feeling over several years and you’ll know what it was like to have made this film.

  Let me ask you about the three pivotal moments in Curiosity’s journey.

  The Crossing, The Rock, and the Face.

  Yes. At the first two obstacles, there’s talk of turning back, but when the rover approaches the third, and it’s clearly wearing down, JPL decides they have to press on. There is no turning back. Were you a part of these decisions?

  No. I didn’t steer the mission either, and to be honest I didn’t want to get in the way of what would be great moments in the film. The hero has to doubt, right? The Face worried me, though. It was the rover’s steepest, toughest climb, magnitudes more difficult to navigate than crossing the field of rocks and getting half-over, half-around that boulder. That was the only time I thought, well, I guess this really is about summiting, because if the rover falls here, we don’t have much of a film.