Heiresses of Russ 2013
The Year’s Best Lesbian Speculative Fiction
•
edited by
Tenea D. Johnson
and Steve Berman
Published by Lethe Press at Smashwords.com
Copyright © 2013 Tenea D. Johnson and Steve Berman.
All rights reserved. No part of this work may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, microfilm, and recording, or by any information storage and retrieval system, without permission in writing from the publisher.
Published in 2013 by Lethe Press, Inc.
118 Heritage Avenue • Maple Shade, NJ 08052-3018
www.lethepressbooks.com • [email protected]
isbn: 978-1-59021-072-7 / 1-59021-072-7 (library binding)
isbn: 978-1-59021-170-0 / 1-59021-170-7 (paperback)
isbn: 978-1-59021-173-1 / 1-59021-173-1 (e-book)
Credits for first publication appear on page 309, which constitutes an extension of this copyright page.
These stories are works of fiction. Names, characters, places, and incidents are products of the authors’ imaginations or are used fictitiously.
Cover and interior design: Alex Jeffers.
Cover image: © Heartland—Fotolia.com.
Table of Contents
Introduction
Tenea D. Johnson
One True Love
Malinda Lo
Saint Louis 1990
Jewelle Gomez
Elm
Jamie Killen
Winter Scheming
Brit Mandelo
Reality Girl
Richard Bowes
Oracle Gretel
Julia Rios
Otherwise
Nisi Shawl
Harrowing Emily
Megan Arkenberg
The Witch Sea
Sarah Diemer
Barnstormers
Wendy N. Wagner
Nightfall in the Scent Garden
Claire Humphrey
Beneath Impossible Circumstances
Andrea Kneeland
Feed Me the Bones of Our Saints
Alex Dally MacFarlane
Narrative Only
Kate Harrad
Nine Days and Seven Tears
JL Merrow
Chang’e Dashes from the Moon
Benjanun Sriduangkaew
Astrophilia
Carrie Vaughn
Contributors
Publication Credits
Introduction
Tenea D. Johnson
There’s nothing like an anthology. Novels are fantastic, book series engrossing, novellas a special kind of magic, but anthologies are somethin’ else. Between two covers you can discover a dozen new authors, as well as just as many magazines, presses, and websites you never knew existed and soon find you can’t live without. Anthologies are the internet before the internet, but better. They are curated abundance collected and packaged for your pleasure.
I’ve always gravitated to them—from Home Girls: A Black Feminist Anthology and Does Your Mama Know? to The Year’s Best Fantasy and Horror, the Oxford Book of Science Fiction Stories, and the problematic but informative Norton Anthologies of Everything. These were the neighborhoods I frequented as a child, the worlds I visited, the places that I loved, even when they didn’t love me back. Rarely though could I find where these groupings met. When I did, they became my favorites: the loveliest edges and corners vibrant with possibility, nuance, and depth.
And here we have one, often longed for and seldom found: lesbian-themed speculative fiction, the best we read that was published in 2012. To be sure, much wonderful work came out last year, but these are the short stories and novelettes we simply could not do without: the fairy tales too long in coming, the re-imagined myths both humorous and dark, the return of a classic vampire and the revenge of a culture, the stories of women back from the dead and into the light, bodies taken and surrendered, the dystopic futures and future returns to the agrarian past that satisfied that deep desire—when only words will do and, for a time, we get to crawl inside their world.
One of the most compelling aspects of speculative fiction is its ability to fulfill otherwise unattainable desires—whether one wants to create a magical society or travel through time, visit an alien civilization or remake history. It also satisfies more mundane reader desires, the ones it would not seem so hard to fulfill. To call a few of these out, I’ll willingly step on this mine: the explosion of “should”:
It should not be easier to find a zombie apocalypse than it is to find a lesbian protagonist in the aisles of your local bookstore. Falling for werewolves and shape shifters should not be more accepted than a transgendered love affair; marginalized people really will still exist in the future; more folks should know that, and more so create like they know it. Someone then must step into the gap, or to be more accurate the gaping holes in the collective visions of our possibilities as human beings. In these pages, someone has. Seventeen someones to be exact.
And here’s one more foray into the embattled Land of Ought: we should blow up the notion of a single literary canon once and for all, and revel in the multiplicity. After all, if a literary canon is central and representative, who does it represent? Where is the center?
Perhaps a best-of anthology can be a political act—à la “I’ll show you my literary canon if you show me yours” As Joanna Russ tells us in How to Suppress Women’s Writing, “there is a false center to ‘literature.’ ”
And this is where it gets complicated, that is to say, interesting, in the space where these stories exist, even where this anthology hopes to: in the center of the ever-expanding edges.
Perhaps an anthology can be such an act when the authors have given such great work, such compelling, beautiful, powerful stories. If so, let this third in the Heiresses of Russ series burn brightly. Let it be both a comfort and a message.
Tenea D. Johnson
Near the Gulf of Mexico
Spring 2013
•
One True Love
Malinda Lo
It is never lucky for a child to kill her mother in the course of her own birth. Perhaps for this reason, the soothsayer who attended the naming ceremony for Princess Essylt was not a celebrated one. Haidis had barely finished his own apprenticeship when the summons came. He knew that delivering the prophecy for this princess was a thankless job, because no soothsayer in his right mind would attempt to foretell the life of a girl-child born out of death.
His mentor and former teacher told him to sugarcoat the prophecy as much as possible. “She’s unimportant, in the grand scheme of things,” said Gerlach. “King Radek needs a son; he’ll find a new bride soon enough and the princess will simply be married off when she’s older.” He gave Haidis a sharp glance. “Make sure your prophecy sounds true enough, but remember that the king doesn’t need the truth; he only needs a benediction.”
So Haidis went to the naming ceremony prepared to omit any problematic details from the prophecy he would deliver. He planned to stop by the soothsayers’ temple afterward, to make an offering to the God of Prophecy to counteract whatever bad luck he might acquire from being in such close proximity to the princess.
It was a small ceremony, as Haidis expected, and the king himself seemed a little bored, his mind likely focused on his next journey to the war front rather than the baby held in the arms of the nursemaid nearby. The child wouldn’t stop crying, her voice a thin, angry wail that echoed in the cold, stony throne room. When Haidis approached her with the Water of Prophecy and the Scepter of Truth, she screamed even louder, her mouth stretched open in a tiny O of frustratio
n, her eyes screwed shut. She had wisps of reddish hair on her scalp, and her cheeks were ruddy. He wondered if she would ever grow into a beauty; her mother, the late Queen Lida, had been known for her inheritance, not her looks.
King Radek barked, “Get on with it before the girl makes us all deaf.”
“Apologies, Your Majesty,” Haidis said. He lifted the pewter bowl containing the Water of Prophecy and dipped his fingers in it, dampening the girl’s forehead and cheeks with the liquid. Her squalls stopped as if she was shocked by his touch, and she opened her eyes. They were a vibrant green, as vivid as springtime in the woods outside the castle, and Haidis was as startled by her as she seemed to be by him. She might not become a beauty, he thought, but those eyes were certainly a marvel.
He picked up the Scepter of Truth and held it over the princess as he began the incantation that would bring him into the trancelike state required to foretell her future. He didn’t expect to fall deeply into the trance; he was too aware of the king glaring at him, not to mention the princess’s luminous green eyes. He kept his own eyes half open, so he saw the moment when the girl reached up with her baby fingers and wrapped them around the Scepter itself.
This was unusual, and Haidis knew it. He knew it because the Scepter changed into a living thing at the princess’s touch, and he had to hang on to it with all his might to prevent it from flying out of his hand. His eyes widened, but he did not see the nurse’s astonished expression, or the way the king sat up in surprise. He saw, instead, the princess’s future, and this vision would remain with him for the rest of his life, for it was the first time he had seen true, and he could not resist speaking it wholly, without any of his mentor’s suggested sugarcoating.
“The princess shall grow into a young woman strong and pure,” Haidis intoned. “But when she finds her one true love”—the nursemaids standing in the throne room giggled—“she shall be the downfall of the king.”
The attendants and guests erupted into shocked whispers. Haidis’s vision cleared with a snap, and he saw the baby Princess Essylt gazing up at him with what appeared to be a smile on her face. Terror filled him as he realized what he had said. He pulled the Scepter of Truth away from the princess, and as it left her hands it became ordinary again.
Behind him the king roared, “Take this abomination away! She shall never be the downfall of me! Take her away or I will have her killed, and she will join her mother in the grave.”
The nursemaid clutched the Princess Essylt to her breast and fled. Haidis swayed on his feet as he wondered if he had sentenced the baby girl to her death with his careless speaking of the truth.
•
It was the king’s most trusted advisor who devised a solution to the problem of Princess Essylt’s prophecy. “We shall simply never allow the princess to find her true love,” he told the king, “and so your safety will be assured.” Of course, the advisor had ulterior motives—he believed the princess might one day be useful, politically—but he kept that to himself, and the king consented to his plan.
From that day forward, Princess Essylt was restricted to the castle’s West Tower under the supervision of her nursemaid, Auda, and was not allowed to see any man except for her father. He visited her rarely, for he had little desire to see the cause of his prophesied doom. The few times he did visit, he glared down at the princess and demanded, “Are you being an obedient little girl?”
She shrank away from him at first, running back to Auda, who would turn her around forcefully and whisper in her ear, “This is your father, the king of Anvarra, and you are his daughter, a princess, and you must behave as such.”
As the years passed, Essylt learned to bow to her father, and she came to see him as a sort of duty: one that she had inherited by birth, but not one that she enjoyed. She knew that he did not particularly like her, but she did not know why, for Auda kept the prophecy that had relegated her to the West Tower a secret.
Auda was a skilled and loving nursemaid, and she took her job seriously. She knew that the only way Essylt would be content in the tower was if she thought her life was entirely normal. For several years, Auda was quite successful, for she made the West Tower into everything a little girl could wish for. When Essylt wanted new dolls, Auda ordered them; when she asked for playmates, Auda invited the princess’s young female cousins to visit; when she yearned for a pony, Auda convinced the king to deliver one to the gardens adjacent to the West Tower. She even arranged for a female riding instructor to teach Essylt how to ride. Whenever Essylt voiced questions about why she couldn’t go through the heavily carved oak door in the hall, Auda said, “We must keep you safe, for you are the princess of Anvarra, and you must be protected.”
The only times Essylt left the West Tower were on the occasions of her father’s weddings, for it was deemed too unseemly for the princess to remain locked away on such an important day. For those events, Essylt was dressed in veils from head to toe so that no one could see her face. The veils also had the unfortunate—or perhaps intentional—side effect of rendering her mostly blind, so she had to hold Auda’s hand the entire time. That meant that Essylt’s experience of the greater castle was confined to careful study of the floor, glimpsed in flashes through the gap at the bottom of the veils.
During Essylt’s childhood, King Radek married several times, for his wives had a troubling tendency to die. Essylt’s mother, of course, had died in childbed, as did the king’s second wife. His third wife bore two stillborn children—sons, the king noted in despair—before succumbing to a fever. After that, several years passed before the king decided to marry again. Some believed he worried that he was cursed, but others noted that he was merely distracted by a new war that had broken out between Anvarra and its eastern neighbor, the kingdom of Drasik. This war went on season after season, and Essylt passed her thirteenth and fourteenth and fifteenth birthdays with her father away at battle, and no new bride on the castle threshold to draw her out of the West Tower.
As Essylt grew older, she became increasingly curious about the court and her father and why he did not return except once or twice a year, and Auda reluctantly began to answer her questions. In this way, Essylt learned that King Radek had sought an alliance with the island nation of Nawharla’al, which had once been invaded by Drasik but had successfully driven them out through an ingenious use of poison-tipped arrows that spread plague through the Drasik soldiers. In Essylt’s seventeenth year, Anvarra and Nawharla’al fought and won a decisive battle against Drasik. In celebration of victory, the king of Nawharla’al gave his seventeen-year-old daughter Sadiya to King Radek in marriage to further cement their alliance.
Sadiya, like all Nawharla’ali people, had brown skin and black hair, with eyes the color of rich, dark soil. The first time King Radek saw her—in a tent on the side of the road after the last battle—he felt lust stir within him, for he had never seen a girl as beautiful and exotic as she. The king saw the way his attendants looked at her, too, and black jealousy rose within him, even thicker than his lust. He ordered that Sadiya be taken immediately to the West Tower and locked inside until their wedding, which would take place in exactly one fortnight.
Sadiya did not understand what he said, for she had not yet learned the Anvarran language. She only knew that the king’s voice was covetous and greedy, and when he lifted her chin with his hand, she could almost smell the desire on his breath. It took all her years of royal training to not spit in his face, and she prayed to her gods that something would come to deliver her from this marriage.
•
On the day of Sadiya’s arrival, Essylt was poring over history books in the West Tower’s small library when she heard the heavy oaken doors in the entry hall flung open. Startled, she ran out onto the balcony overlooking the hall and saw a stream of women in strange, colorful clothes entering the tower, bearing a series of curious objects: wooden trunks carved with unfamiliar animals; a golden cage containing a bird with brilliant purple and green feathers; cushions the
color of sunsets. Amid all this movement, Essylt saw one girl standing stock-still in the corner, her arms crossed around herself protectively. She was wrapped from head to foot in azure scarves, with only her eyes peering out.
Auda came running into the hall, demanding to know what was going on, and a woman in a plain blue dress detached herself from the entourage of attendants to speak to Auda in low, intense tones.
Essylt came down the stairs. She was drawn to the silent girl in the corner, who looked up at that moment and saw her. A shiver ran down Essylt’s spine: quicksilver, insistent. Go to her.
As Essylt approached, the girl unwound the veils from her face to reveal brown skin, full lips, and dark eyes: a beauty unlike that of any Anvarran woman. This girl took a step away from her corner and extended her hands, palms up, toward Essylt. In the center of her palms a design was painted: swirls and loops that connected to form a pattern that was like a flower, but no flower that Essylt knew. Instinctively, Essylt reached out and covered the girl’s hands with her own, paler ones, and when their skin touched, a tremor went through Essylt’s body. For the first time, she became wholly aware of the way her fingers and toes were connected to the pulsing of her heart, to the breath that fluttered from her lungs to her lips, to the heat that spread over her cheeks.
Behind her, Auda said in a strained tone of voice, “Your Highness, this is the Princess Sadiya of Nawharla’al.” There was another round of feverish whispers between Auda and Sadiya’s chief attendant, who spoke Anvarran with an accent that Auda had never heard before and thus found difficult to understand.
“Sa-dee-ah?” Essylt said uncertainly.
“Sah-dee-ya,” the girl corrected, and her name sounded like music on her lips.
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