by Anthology
Anxiety can throw a person’s ovaries ‘way off schedule. On that beach in California, Sarah was no more pregnant than Bob was. But up there in the future, some somatic tension finally built up to the breaking point, and an egg went sliding down the left Fallopian tube, to be met by a wiggling intruder approximately halfway; together they were the first manifestation of organism that nine months later, or a million years earlier, would be christened Douglas MacArthur Graham.
This made a problem for time, or Time, which is neither like a rubber band nor like a spring; nor even like a river nor a carrier wave—but which, like all of these things, can be deformed by certain stresses. For instance, two people going into the future and three coming back on the same time-casting beam.
In an earlier age, when time travel was more common, time-casters would have made sure that the baby, or at least its aborted embryo, would stay in the future when the mother returned to her present. Or they could arrange for the mother to stay in the future.
But these subtleties had long been forgotten when Nine-hover relearned the dead art. So Sarah went back to her present with a hitch-hiker, an interloper, firmly imbedded in the lining of her womb. And its dim sense of life set up a kind of eddy in the flow of time, that Sarah had to share.
The mathematical explanation is subtle, and can’t be comprehended by those of us who synapse with fewer than four degrees of freedom. But the end effect is clear: Sarah had to experience all of her own life backwards, all the way back to that embrace on the beach.
Some highlights were:
In 1992, slowly dying of cancer, in a mental hospital.
In 1979, seeing Bob finally succeed at suicide on the American Plan, not quite finishing his 9,527th bottle of liquor.
In 1970, having her only son returned in a sealed casket from a country she’d never heard of.
In the 1960’s, helplessly watching her son become more and more neurotic because of something that no one could name.
In 1953, Bob coming home with one foot, the other having been lost to frostbite; never having fired a shot in anger.
In 1952, the agonizing breech presentation.
Like her son, Sarah would remember no details of the backward voyage through her life. But the scars of it would haunt her forever.
They were kissing on the beach.
Sarah dropped the blanket and made a little noise. She started crying and slapped Bob as hard as she could, then ran on alone, up to the cabin.
Bob watched her progress up the hill with mixed feelings. He took a healthy slug from the bourbon bottle, to give him an excuse to wipe his own eyes.
He could go sit on the beach and finish the bottle; let her get over it by herself. Or he could go comfort her.
He tossed the bottle away, the gesture immediately making him feel stupid, and followed her. Later that night she apologized, saying she didn’t know what had gotten into her.
ANOTHER STORY
Ursula K. Le Guin
To: The Stabiles of the Ekumen on Hain, and to Gvonesh, Director of the Churten Field Laboratories at Ve Port
From Tiokunan’n Hideo, Farmholder of the Second Sedoretu of Udan, Derdan’nad, Oket, on O.
I shall make my report as if I told a story, this having been the tradition for some time now. You may, however, wonder why a farmer on the planet O is reporting to you as if he were a Mobile of the Ekumen. My story will explain that. But it does not explain itself. Story is our only boat for sailing on the river of time, but in the great rapids and the winding shallows, no boat is safe.
So: once upon a time when I was twenty-one years old I left my home and came on the NAFAL ship Terraces of Darranda to study at the Ekumenical Schools on Hain.
The distance between Hain and my home world is just over four light-years, and there has been traffic between O and the Hainish system for twenty centuries. Even before the Nearly As Fast As Light drive, when ships spent a hundred years of planetary time instead of four to make the crossing, there were people who would give up their old life to come to a new world. Sometimes they returned; not often. There were tales of such sad returns to a world that had forgotten the voyager. I knew also from my mother a very old story called “The Fisherman of the Inland Sea,” which came from her home world, Terra. The life of a ki’O child is full of stories, but of all I heard told by her and my othermother and my fathers and grandparents and uncles and aunts and teachers, that one was my favorite. Perhaps I liked it so well because my mother told it with deep feeling, though very plainly, and always in the same words (and I would not let her change the words if she ever tried to).
The story tells of a poor fisherman, Urashima, who went out daily in his boat alone on the quiet sea that lay between his home island and the mainland. He was a beautiful young man with long, black hair, and the daughter of the king of the sea saw him as he leaned over the side of the boat and she gazed up to see the floating shadow cross the wide circle of the sky.
Rising from the waves, she begged him to come to her palace under the sea with him.
At first he refused, saying, “My children wait for me at home.” But how could he resist the sea king’s daughter? “One night,” he said. She drew him down with her under the water, and they spent a night of love in her green palace, served by strange undersea beings. Urashima came to love her dearly, and maybe he stayed more than one night only. But at last he said, “My dear, I must go. My children wait for me at home.”
“If you go, you go forever,” she said.
“I will come back,” he promised.
She shook her head. She grieved, but did not plead with him. “Take this with you,” she said, giving him a little box, wonderfully carved, and sealed shut. “Do not open it, Urashima.”
So he went up onto the land, and ran up the shore to his village, to his house: but the garden was a wilderness, the windows were blank, the roof had fallen in. People came and went among the familiar houses of the village, but he did not know a single face.
“Where are my children?” he cried. An old woman stopped and spoke to him: “What is your trouble, young stranger?”
“I am Urashima, of this village, but I see no one here I know!”
“Urashima!” the woman said—and my mother would look far away, and her voice as she said the name made me shiver, tears starting to my eyes—“Urashima! My grandfather told me a fisherman named Urashima was lost at sea, in the time of his grandfather’s grandfather. There has been no one of that family alive for a hundred years.”
So Urashima went back down to the shore; and there he opened the box, the gift of the sea king’s daughter. A little white smoke came out of it and drifted away on the sea wind. In that moment Urashima’s black hair turned white, and he grew old, old, old; and he lay down on the sand and died.
Once, I remember, a traveling teacher asked my mother about the fable, as he called it. She smiled and said, “In the Annals of the Emperors of my nation of Terra it is recorded that a young man named Urashima, of the Yosa district, went away in the year 477, and came back to his village in the year 825, but soon departed again. And I have heard that the box was kept in a shrine for many centuries.” Then they talked about something else.
My mother, Isako, would not tell the story as often as I demanded it. “That one is so sad,” she would say, and tell instead about Grandmother and the rice dumpling that rolled away, or the painted cat who came alive and killed the demon rats, or the peach boy who floated down the river. My sister and my germanes, and older people, too, listened to her tales as closely as I did. They were new stories on O, and a new story is always a treasure. The painted cat story was the general favorite, especially when my mother would take out her brush and the block of strange, black, dry ink from Terra, and sketch the animals—cat, rat—that none of us had ever seen: the wonderful cat with arched back and brave round eyes, the fanged and skulking rats, “pointed at both ends” as my sister said. But I waited always, through all other stories, for her to catch my eye,
look away, smile a little and sigh, and begin, “Long, long ago, on the shore of the Inland Sea there lived a fisherman . . .”
Did I know then what that story meant to her? that it was her story? that if she were to return to her village, her world, all the people she had known would have been dead for centuries?
Certainly I knew that she “came from another world,” but what that meant to me as a five-, or seven-, or ten-year-old, is hard for me now to imagine, impossible to remember.
I knew that she was a Terran and had lived on Hain; that was something to be proud of. I knew that she had come to O as a Mobile of the Ekumen (more pride, vague and grandiose) and that “your father and I fell in love at the Festival of Plays in Sudiran.” I knew also that arranging the marriage had been a tricky business. Getting permission to resign her duties had not been difficult—the Ekumen is used to Mobiles going native.
But as a foreigner, Isako did not belong to a ki’O moiety, and that was only the first problem. I heard all about it from my othermother, Tubdu, an endless source of family history, anecdote, and scandal. “You know,” Tubdu told me when I was eleven or twelve, her eyes shining and her irrepressible, slightly wheezing, almost silent laugh beginning to shake her from the inside out—“you know, she didn’t even know women got married? Where she came from, she said, women don’t marry.”
I could and did correct Tubdu: “Only in her part of it. She told me there’s lots of parts of it where they do.” I felt obscurely defensive of my mother, though Tubdu spoke without a shadow of malice or contempt; she adored Isako. She had fallen in love with her “the moment I saw her—that black hair! that mouth!”—and simply found it endearingly funny that such a woman could have expected to marry only a man.
“I understand,” Tubdu hastened to assure me. “I know—on Terra it’s different, their fertility was damaged, they have to think about marrying for children. And they marry in twos, too. Oh, poor Isako! How strange it must have seemed to her! I remember how she looked at me—” And off she went again into what we children called The Great Giggle, her joyous, silent, seismic laughter.
To those unfamiliar with our customs I should explain that on O, a world with a low, stable human population and an ancient climax technology, certain social arrangements are almost universal. The dispersed village, an association of farms, rather than the city or state, is the basic social unit. The population consists of two halves or moieties. A child is born into its mother’s moiety, so that all ki’O (except the mountain folk of Ennik) belong either to the Morning People, whose time is from midnight to noon, or the Evening People, whose time is from noon to midnight. The sacred origins and functions of the moieties are recalled in the Discussions and the Plays and in the services at every farm shrine. The original social function of the moiety was probably to structure exogamy into marriage and so discourage inbreeding in isolated farmholds, since one can have sex with or marry only a person of the other moiety. The rule is severely reinforced. Transgressions, which of course occur, are met with shame, contempt, and ostracism. One’s identity as a Morning or an Evening Person is as deeply and intimately part of oneself as one’s gender, and has quite as much to do with one’s sexual life.
A ki’O marriage, called a sedoretu, consists of a Morning woman and man and an Evening woman and man; the heterosexual pairs are called Morning and Evening according to the woman’s moiety; the homosexual pairs are called Day—the two women—and Night—the two men.
So rigidly structured a marriage, where each of four people must be sexually compatible with two of the others while never having sex with the fourth—clearly this takes some arranging. Making sedoretu is a major occupation of my people.
Experimenting is encouraged; foursomes form and dissolve, couples “try on” other couples, mixing and matching. Brokers, traditionally elderly widowers, go about among the farmholds of the dispersed villages, arranging meetings, setting up field dances, serving as universal confidants. Many marriages begin as a love match of one couple, either homosexual or heterosexual, to which another pair or two separate people become attached. Many marriages are brokered or arranged by the village elders from beginning to end. To listen to the old people under the village great tree making a sedoretu is like watching a master game of chess or tidhe. “If that Evening boy at Erdup were to meet young Tobo during the flour-processing at Gad’d . . .” “Isn’t Hodin’n of the Oto Morning a programmer? They could use a programmer at Erdup . . .” The dowry a prospective bride or groom can offer is their skill, or their home farm. Otherwise undesired people may be chosen and honored for the knowledge or the property they bring to a marriage.
The farmhold, in turn, wants its new members to be agreeable and useful. There is no end to the making of marriages on O. I should say that all in all they give as much satisfaction as any other arrangement to the participants, and a good deal more to the marriage-makers.
Of course many people never marry. Scholars, wandering Discussers, itinerant artists and experts, and specialists in the Centers seldom want to fit themselves into the massive permanence of a farmhold sedoretu. Many people attach themselves to a brother’s or sister’s marriage as aunt or uncle, a position with limited, clearly defined responsibilities; they can have sex with either or both spouses of the other moiety, thus sometimes increasing the sedoretu from four to seven or eight. Children of that relationship are called cousins. The children of one mother are brothers or sisters to one another; the children of the Morning and the children of the Evening are germanes.
Brothers, sisters, and first cousins may not marry, but germanes may. In some less conservative parts of O germane marriages are looked at askance, but they are common and respected in my region.
My father was a Morning man of Udan Farmhold of Derdan’nad Village in the hill region of the Northwest Watershed of the Saduun River, on Oket, the smallest of the six continents of O. The village comprises seventy-seven farmholds, in a deeply rolling, stream-cut region of fields and forests on the watershed of the Oro, a tributary of the wide Saduun. It is fertile, pleasant country, with views west to the Coast Range and south to the great floodplains of the Saduun and the gleam of the sea beyond. The Oro is a wide, lively, noisy river full of fish and children. I spent my childhood in or on or by the Oro, which runs through Udan so near the house that you can hear its voice all night, the rush and hiss of the water and the deep drumbeats of rocks rolled in its current. It is shallow and quite dangerous. We all learned to swim very young in a quiet bay dug out as a swimming pool, and later to handle rowboats and kayaks in the swift current full of rocks and rapids. Fishing was one of the children’s responsibilities. I liked to spear the fat, beady-eyed, blue ochid; I would stand heroic on a slippery boulder in midstream, the long spear poised to strike. I was good at it. But my germane Isidri, while I was prancing about with my spear, would slip into the water and catch six or seven ochid with her bare hands. She could catch eels and even the darting ei. I never could do it. “You just sort of move with the water and get transparent,” she said. She could stay underwater longer than any of us, so long you were sure she had drowned. “She’s too bad to drown,” her mother, Tubdu, proclaimed. “You can’t drown really bad people. They always bob up again.”
Tubdu, the Morning wife, had two children with her husband Kap: Isidri, a year older than me, and Suudi, three years younger. Children of the Morning, they were my germanes, as was Cousin Had’d, Tubdu’s son with Kap’s brother Uncle Tobo. On the Evening side there were two children, myself and my younger sister. She was named Koneko, an old name in Oket, which has also a meaning in my mother’s Terran language: “kitten,” the young of the wonderful animal “cat” with the round back and the round eyes. Koneko, four years younger than me, was indeed round and silky like a baby animal, but her eyes were like my mother’s, long, with lids that went up towards the temple, like the soft sheaths of flowers before they open. She staggered around after me, calling, “Deo! Deo! Wait!”—while I ran after fleet, fe
arless, ever-vanishing Isidri, calling, “Sidi! Sidi! Wait!”
When we were older, Isidri and I were inseparable companions, while Suudi, Koneko, and Cousin Had’d made a trinity, usually coated with mud, splotched with scabs, and in some kind of trouble—gates left open so the yamas got into the crops, hay spoiled by being jumped on, fruit stolen, battles with the children from Drehe Farmhold. “Bad, bad,” Tubdu would say. “None of ’em will ever drown!” And she would shake with her silent laughter.
My father Dohedri was a hardworking man, handsome, silent, and aloof. I think his insistence on bringing a foreigner into the tight-woven fabric of village and farm life, conservative and suspicious and full of old knots and tangles of passions and jealousies, had added anxiety to a temperament already serious. Other ki’O had married foreigners, of course, but almost always in a “foreign marriage,” a pairing; and such couples usually lived in one of the Centers, where all kinds of untraditional arrangements were common, even (so the village gossips hissed under the great tree) incestuous couplings between two Morning people! two Evening people!—Or such pairs would leave O to live on Hain, or would cut all ties to all homes and become Mobiles on the NAFAL ships, only touching different worlds at different moments and then off again into an endless future with no past.
