by Irene Gallo
After a decade of international conferences, I have colleagues all over the world. I call them all. Most are sympathetic. A South African cosmologist I know tells me I’m grandstanding, then laughs like it’s a joke, but not really. They all tell me to be patient. Just wait.
Life goes on. My other research, the asteroid research I was doing, has piled up, and I get polite but firm hints that I really ought to work on that if I want to keep my job. I go to conferences, I publish, I do another dozen interviews, holding up the plastic model of the object that I’ll likely never get close to. The ache in my heart feels just like it did when Peter left me. That was three years ago, and I can still feel it. The ache that says: I can’t possibly start over, can I?
The ache faded when I found UO-1.
* * *
“JPL rejected your proposal to repurpose Angelus. Thank God.” Marsh leans on my doorway like usual. He’s grinning like he won a prize.
I got the news via email. The bastards can’t even be bothered to call. I’d called them back, thinking there must have been a mistake. The pitying tone in their voices didn’t sound like kindness anymore. It was definitely condescension. I cried. I’ve been crying all afternoon, as the pile of wadded-up tissues on my desk attests. My eyes are still puffy. Marsh can see I’ve been crying; he knows what it looks like when I cry. He was there three years ago. I take a breath to keep from starting up again and stare at him like he’s punched me.
“How can you say that? Do you know what they’re talking about now? They’re talking about just leaving it! They’re saying the orbit is stable, we’ll always know where it is and we can go after it when we have a better handle on the technology. But what if something happens to it? What if an asteroid hits it, or it crashes into Jupiter, or—”
“Jane, it’s been traveling for how many hundreds of billions of miles—why would something happen to it now?”
“I don’t know! It shouldn’t even be there at all! And they won’t even listen to me!”
He sounds tired. “Why should they?”
“Because it’s mine!”
His normally comforting smile is sad, pitying, smug, and amused, all at once. “It’s not yours, not any more than gravity belonged to Newton.”
I want to scream. Because maybe this isn’t the most important thing to happen to humanity. That’s probably, oh, the invention of the wheel, or language. Maybe this is just the most important thing to happen to me.
I grab another tissue. Look at the picture of UO-1. It’s beautiful. It tells me that the universe, as vast as we already know it is, is bigger than we think.
Marsh sits in the second chair without waiting for an invitation. “What do you think it is, Jane? Be honest. No job, no credibility, no speaking gig for Discovery on the line. What do you think when you look at it?” He nods at the picture.
There are some cable shows that will win you credibility for appearing on them. There are some that will destroy any credibility you ever had. I have been standing right on that line, answering the question of “What is it?” as vaguely as possible. We need to know more, no way to speculate, et cetera. But I know. I know what it is.
“I think it’s Voyager. Not the Voyager. Their Voyager. The probe they sent out to explore, and it just kept going.”
He doesn’t laugh. “You think we’ll find a plaque on it? A message? A recording?”
“It’s what I want to find.” I smile wistfully. “But what are the odds?”
“Gershwin,” he says. I blink, but he doesn’t seem offended by my confusion. He leans back in the chair, comfortable in his thick middle-aged body, genial, someone who clearly believes all is well with the world, at least at the moment. “We’ve had fourteen billion years of particles colliding, stars exploding, nebulae compressing, planets forming, all of it cycling over and over again, and then just the right amino acids converged, life forms, and a couple of billion years of evolution later—we get Gene Kelly and Leslie Caron dancing by a fountain to Gershwin and it’s beautiful. For no particular evolution-driven reason, it’s beautiful. I think: what are the odds? That they’re dancing, that it’s on film, and that I’m here watching and thinking it’s gorgeous. If the whole universe exists just to make this one moment happen, I wouldn’t be at all surprised.”
“So if I think sometimes that maybe I was meant to find UO-1, because maybe there’s a message there and that I’m the only one who can read it—then maybe that’s not crazy?” Like thinking that the universe sent me UO-1 at a time in my life when I desperately needed something to focus on, to be meaningful …
“Oh, no, it’s definitely crazy. But it’s understandable.” This time his smile is kind.
“Marsh—this really is the most important thing to happen to humanity ever, isn’t it?”
“Yes. But we still need to study and map near-Earth asteroids, right?”
* * *
I don’t tell Marsh that I’ve never seen An American in Paris. I’ve never watched Gene Kelly in anything. But Marsh obviously thinks it’s important, so I watch the movie. I decide he’s right. That dance at the fountain, it’s a moment suspended in time. Like an alien spacecraft that shouldn’t be there but is.
* * *
Two things happen next.
At the next IAU meeting, an archaeologist presents a lecture on UO-1, which I think is very presumptuous, but I go, because I go to everything having to do with UO-1. She talks about preservation and uses terms like “in situ,” and how modern archaeological practice often involves excavating artifacts, examining them—and then putting them back in the ground. She argues that we don’t know what years of space travel have done to the metal and structures of UO-1. We don’t know how our methods of studying it will impact it. She shows pictures of Mayan friezes that were excavated and left exposed to the elements versus ones that remained buried for their own protection, so that later scientists with better equipment and techniques will be able to return to them someday. The exposed ones have dissolved, decayed past recognition. She gives me an image: I reach out and finally put my hand on UO-1, and its metallic skin, weakened by a billion micrometeoroid impacts gathered over millennia, disintegrates under my touch.
I think of that and start to sweat. So yes, caution. I know this.
The second thing that happens: I turn my back on UO-1.
Not really, but it’s a striking image. I write another proposal, a different proposal, and submit it to one of the corporate foundations because Marsh may be right. If nothing else, it’ll get attention. I don’t mind a little grandstanding.
We already have teams tracking a best-guess trajectory to determine where UO-1 came from. It might have been cruising through space at nonrelativistic speed for dozens of years, or centuries, or millions of centuries, but based on the orbit it established here, we can estimate how it entered the solar system and the trajectory it traveled before then. We can trace backward.
My plan: to send a craft in that direction. It will do a minimal amount of science along the way, sending back radiation readings, but most of the energy and hardware is going into propulsion. It will be fast and it will have purpose, carrying an updated variation of Sagan’s Voyager plaques and recordings, digital and analog.
It’s a very simple message, in the end: Hey, we found your device. Want one of ours?
In all likelihood, the civilization that built UO-1 is extinct. The odds simply aren’t good for a species surviving—and caring—for long enough to send a message and receive a reply. But our sample size for drawing that conclusion about the average lifespan of an entire species on a particular world is exactly one, which isn’t a sample size at all. We weren’t supposed to ever find an alien ship in our backyard, either.
I tear up when the rocket launches, and that makes for good TV. As Marsh predicted, the documentary producers decide to make me the human face of the project, and I figure I’ll do what I have to, as best as I can. I develop a collection of quotes for the dozens of interviews that foll
ow—I’m up to two-hundred thirty-five. I talk about taking the long view and transcending the everyday concerns that bog us down. About how we are children reaching across the sandbox with whatever we have to offer, to whoever shows up. About teaching our children to think as big as they possibly can, and that miracles sometimes really do happen. They happen often, because all of this, Gershwin’s music, the great curry I had for dinner last night, the way we hang pictures on our walls of things we love, are miracles that never should have happened.
It’s a hope, a need, a shout, a shot in the dark. It’s the best we can do. For now.
CARRIE VAUGHN is best known for her New York Times bestselling series of novels about a werewolf named Kitty who hosts a talk radio show for the supernaturally disadvantaged. Her latest novels include a near-Earth space opera, Martians Abroad, from Tor Books, and a postapocalyptic murder mystery, Bannerless, from John Joseph Adams Books. The sequel, The Wild Dead, will be out in 2018. She’s written several other contemporary fantasy and young adult novels, as well as upwards of eighty short stories, two of which have been finalists for the Hugo Award. She’s a contributor to the Wild Cards series of shared-world superhero books edited by George R. R. Martin and a graduate of the Odyssey Writing Workshop. An Air Force brat, she survived her nomadic childhood and managed to put down roots in Boulder, Colorado.
The City, Born Great
N. K. Jemisin
New York City is about to go through a few changes. Like all great metropolises before it, when a city gets big enough, old enough, it must be born; but there are ancient enemies who cannot tolerate new life. Thus New York will live or die by the efforts of a reluctant midwife … and how well he can learn to sing the city’s mighty song. Hugo Award nominee. Edited by Liz Gorinsky.
I sing the city.
Fucking city. I stand on the rooftop of a building I don’t live in and spread my arms and tighten my middle and yell nonsense ululations at the construction site that blocks my view. I’m really singing to the cityscape beyond. The city’ll figure it out.
It’s dawn. The damp of it makes my jeans feel slimy, or maybe that’s ’cause they haven’t been washed in weeks. Got change for a wash-and-dry, just not another pair of pants to wear till they’re done. Maybe I’ll spend it on more pants at the Goodwill down the street instead … but not yet. Not till I’ve finished going AAAAaaaaAAAAaaaa (breath) aaaaAAAAaaaaaaa and listening to the syllable echo back at me from every nearby building face. In my head, there’s an orchestra playing “Ode to Joy” with a Busta Rhymes backbeat. My voice is just tying it all together.
Shut your fucking mouth! someone yells, so I take a bow and exit the stage.
But with my hand on the knob of the rooftop door, I stop and turn back and frown and listen, ’cause for a moment I hear something both distant and intimate singing back at me, basso-deep. Sort of coy.
And from even farther, I hear something else: a dissonant, gathering growl. Or maybe those are the rumblers of police sirens? Nothing I like the sound of, either way. I leave.
* * *
“There’s a way these things are supposed to work,” says Paulo. He’s smoking again, nasty bastard. I’ve never seen him eat. All he uses his mouth for is smoking, drinking coffee, and talking. Shame; it’s a nice mouth otherwise.
We’re sitting in a cafe. I’m sitting with him because he bought me breakfast. The people in the cafe are eyeballing him because he’s something not-white by their standards, but they can’t tell what. They’re eyeballing me because I’m definitively black, and because the holes in my clothes aren’t the fashionable kind. I don’t stink, but these people can smell anybody without a trust fund from a mile away.
“Right,” I say, biting into the egg sandwich and damn near wetting myself. Actual egg! Swiss cheese! It’s so much better than that McDonald’s shit.
Guy likes hearing himself talk. I like his accent; it’s sort of nasal and sibilant, nothing like a Spanish-speaker’s. His eyes are huge, and I think, I could get away with so much shit if I had permanent puppy eyes like that. But he seems older than he looks—way, way older. There’s only a tinge of gray at his temples, nice and distinguished, but he feels, like, a hundred.
He’s also eyeballing me, and not in the way I’m used to. “Are you listening?” he asks. “This is important.”
“Yeah,” I say, and take another bite of my sandwich.
He sits forward. “I didn’t believe it either, at first. Hong had to drag me to one of the sewers, down into the reeking dark, and show me the growing roots, the budding teeth. I’d been hearing breathing all my life. I thought everyone could.” He pauses. “Have you heard it yet?”
“Heard what?” I ask, which is the wrong answer. It isn’t that I’m not listening. I just don’t give a shit.
He sighs. “Listen.”
“I am listening!”
“No. I mean, listen, but not to me.” He gets up, tosses a twenty onto the table—which isn’t necessary, because he paid for the sandwich and the coffee at the counter, and this cafe doesn’t do table service. “Meet me back here on Thursday.”
I pick up the twenty, finger it, pocket it. Would’ve done him for the sandwich, or because I like his eyes, but whatever. “You got a place?”
He blinks, then actually looks annoyed. “Listen,” he commands again, and leaves.
I sit there for as long as I can, making the sandwich last, sipping his leftover coffee, savoring the fantasy of being normal. I people-watch, judge other patrons’ appearances; on the fly I make up a poem about being a rich white girl who notices a poor black boy in her coffee shop and has an existential crisis. I imagine Paulo being impressed by my sophistication and admiring me, instead of thinking I’m just some dumb street kid who doesn’t listen. I visualize myself going back to a nice apartment with a soft bed, and a fridge stuffed full of food.
Then a cop comes in, fat florid guy buying hipster joe for himself and his partner in the car, and his flat, eyes skim the shop. I imagine mirrors around my head, a rotating cylinder of them that causes his gaze to bounce away. There’s no real power in this—it’s just something I do to try to make myself less afraid when the monsters are near. For the first time, though, it sort of works: The cop looks around, but doesn’t ping on the lone black face. Lucky. I escape.
* * *
I paint the city. Back when I was in school, there was an artist who came in on Fridays to give us free lessons in perspective and lighting and other shit that white people go to art school to learn. Except this guy had done that, and he was black. I’d never seen a black artist before. For a minute I thought I could maybe be one, too.
I can be, sometimes. Deep in the night, on a rooftop in Chinatown, with a spray can for each hand and a bucket of drywall paint that somebody left outside after doing up their living room in lilac, I move in scuttling, crablike swirls. The drywall stuff I can’t use too much of; it’ll start flaking off after a couple of rains. Spray paint’s better for everything, but I like the contrast of the two textures—liquid black on rough lilac, red edging the black. I’m painting a hole. It’s like a throat that doesn’t start with a mouth or end in lungs; a thing that breathes and swallows endlessly, never filling. No one will see it except people in planes angling toward LaGuardia from the southwest, a few tourists who take helicopter tours, and NYPD aerial surveillance. I don’t care what they see. It’s not for them.
It’s real late. I didn’t have anywhere to sleep for the night, so this is what I’m doing to stay awake. If it wasn’t the end of the month, I’d get on the subway, but the cops who haven’t met their quota would fuck with me. Gotta be careful here; there’s a lot of dumb-fuck Chinese kids west of Chrystie Street who wanna pretend to be a gang, protecting their territory, so I keep low. I’m skinny, dark; that helps, too. All I want to do is paint, man, because it’s in me and I need to get it out. I need to open up this throat. I need to, I need to … yeah. Yeah.
There’s a soft, strange sound as I lay down the last
streak of black. I pause and look around, confused for a moment—and then the throat sighs behind me. A big, heavy gust of moist air tickles the hairs on my skin. I’m not scared. This is why I did it, though I didn’t realize that when I started. Not sure how I know now. But when I turn back, it’s still just paint on a rooftop.
Paulo wasn’t shitting me. Huh. Or maybe my mama was right, and I ain’t never been right in the head.
I jump into the air and whoop for joy, and I don’t even know why.
I spend the next two days going all over the city, drawing breathing-holes everywhere, till my paint runs out.
* * *
I’m so tired on the day I meet Paulo again that I stumble and nearly fall through the cafe’s plate-glass window. He catches my elbow and drags me over to a bench meant for customers. “You’re hearing it,” he says. He sounds pleased.
“I’m hearing coffee,” I suggest, not bothering to stifle a yawn. A cop car rolls by. I’m not too tired to imagine myself as nothing, beneath notice, not even worth beating for pleasure. It works again; they roll on.
Paulo ignores my suggestion. He sits down beside me and his gaze goes strange and unfocused for a moment. “Yes. The city is breathing easier,” he says. “You’re doing a good job, even without training.”
“I try.”
He looks amused. “I can’t tell if you don’t believe me, or if you just don’t care.”
I shrug. “I believe you.” I also don’t care, not much, because I’m hungry. My stomach growls. I’ve still got that twenty he gave me, but I’ll take it to that church-plate sale I heard about over on Prospect, get chicken and rice and greens and cornbread for less than the cost of a free-trade small-batch-roasted latte.
He glances down at my stomach when it growls. Huh. I pretend to stretch and scratch above my abs, making sure to pull up my shirt a little. The artist guy brought a model for us to draw once, and pointed to this little ridge of muscle above the hips called Apollo’s Belt. Paulo’s gaze goes right to it. Come on, come on, fishy fishy. I need somewhere to sleep.
