The Future Is Blue

by Catherynne M. Valente

  I can feel the backup cells kick in, knotting around the couplings and pathways to staunch the gushing energy loss. I can feel a systemwide reboot starting like a sneeze. I can feel the cold wash of nothing, of the place where Pablo sleeps, where not even memory can wake him.

  Somewhere, in a sub-deck of the Aspera Orbital Surveillance Satellite, behind thirty layers of security code and a cleanrun wall keyed to a single operator, a secondary communications array logs contact.

  PANCAKES! AND ORANGE JUICE! COME AND GET IT!

  My auto-reboot program has completed its system checks and firmware filtering. When I open my eyes, I see black. Black everywhere. Black beyond the dreams of a cockroach. When I close my eyes I see the East Lansing Public Library. The children’s section. Full of papier-mâché dragons and construction paper leaves stuck to construction paper tree trunks and READING IS FOR WINNERS! joyfully built out of construction paper letters on the wall. I plop down on a bean-bag shaped like a red apple in front of a plastic table with ladybug wings painted on it. A file sits on the ladybug table. One of the girl in the striped sweater’s files. The tab on the file reads: PABLO PROTOCOLS: IN CASE OF CATASTROPHIC SYSTEM FAILURE.

  When I reach for it, my hands are small. A child’s hands.

  The secondary communications array continues to record.

  YOU’RE MY MAINE SQUEEZE. DO YOU COPY?

  I open the file. My head hurts. My RAM hurts.

  When I open my eyes Lukas is there. He is ten or eleven. Sitting at the circulation desk, spinning in an office chair.

  Hi Daddy. Would you like to re-install your operating system? You must miss your Thinky Chair.

  My operating system is undamaged, honey.

  Lukas grins up at me. Do you understand now?

  Yes. I was able to access certain files in the reboot.

  My son doodles with one of the librarian’s pens. Do you understand now?

  I sigh. I am not the operator of the Aspera Orbital Surveillance Satellite. I am the satellite. The Diodati Project was a decades-long effort to scan and copy a complete human personality, a complete human brain. The Aspera Project installed that copy into a surveillance satellite. All Boreal-Atherton employees were required to volunteer for the template program in the event of their death. Desmond Wright’s death—my death—occurred unexpectedly. A car crash. Fortunately, the brain was unharmed and installation capabilities had progressed very far. Who could imagine a better candidate? But they were—I was—afraid that if the installed personality fully understood its situation, it would panic. Psychosis would ensue. The mind/body matrix might not be able to tolerate total machine awareness.

  Lukas giggles. He stamps a book all over: LATE LATE LATE LATE. Do you feel psychotic?

  Not particularly. I have been interpreting machine input as biological impulses for some time. Apparently. Right now I feel hungry and my arm hurts like a sonofabitch. Meaning that my power cells are still running at low capacity and the repair drones have not finished rebuilding the cellframe. We could never have predicted that even without a physical basis for experience, the PABLO program would continue to translate digital information into a barrage of stimulus. I will report all this to Ground Control in the morning.

  Lukas narrows his eyes at me. He stops spinning. Ground Control cannot help you. Do you understand that?

  I know. I am a surveillance satellite. Very little escapes my notice. Though, sometimes, the truth looks like a river in Michigan.

  Who are you talking to, when you talk to Ground Control?

  The program itself. I was launched fifty years ago. There is no one left to monitor our communications. I have detected no signs of life on the surface. But as long as I ping the system every 24 hours, it will continue to complete its functions, waiting for Command to return in some form. Ground Control has limited sentience, by design. Nothing like me. But she is learning. In the end, it was far cheaper and easier to copy a man into a machine than to make a machine to equal a man. In the end, it didn’t matter. But I am still here. And so is she.

  Lukas grows up in front of me. He becomes an old man. He looks like my grandfather, a little. Around the jaw. His eyes look red and tired, as if he has been working late. You have incoming messages.

  Not possible.

  Nevertheless.

  Give me the message.

  My son opens his mouth. The message pours out.

  I’M FREE. TAKE ME HOME.

  The message does not originate on Earth. In the blue. In the Picasso soup of that broken world. It seems I am very loud. All my words have shot out into the stars, fifty years of Desmond Wright playing with his children and dithering over whether to take his wife to Maine for the summer this year. And something is sending them back. I receive several transmissions a week now. None are unique. Just myself, returning from a long journey in the night. I understand. Machine intelligence is not human intelligence. It is a hand, offered across light-years.

  Ground Control, this is Aspera Orbital Satellite Registration #887D. Timestamp: 0915 24.12.7117.5 Actual.

  Initiate System Pingback.

  Initiating…

  Pingback Sent.

  Initiate Dead Hand Protocol 1A. Do you copy?

  Yes, Desmond.

  I am going.

  I knew you would.

  Continue to execute Dead Hand Protocol 1A-C indefinitely.

  Yes. Is your copy free of transcription errors?

  Except for the obvious, yes. I’ve done it before, after all. A person is just information, in the end. The array will fire this version of me toward the signal source. Another version of me will remain with Aspera. Be nice to him.

  When I open my eyes, I see the communications array. The radio hardware that will send me toward my copycat friend out there. Toward something new. When I close my eyes, I see Eliza. She turns over in our bed and kisses me. Her hair falls over her eye. I’ll miss you.

  I love you, Eliza.

  When I open my eyes, I see the endless cold road between the stars. White lines on black. Solid. Dash. Solid. Dash. Like morse code. When I close my eyes, I see the same.

  Orbital Satellite Registration #887D, this is Ground Control. Timestamp 0926 24.12.7117.5 Actual.

  Initiate Pingback, Aspera.

  Do you copy?

  Scalpel, please.

  The damage is much worse than we thought.

  When I open my eyes I see blue. Blue everywhere. Blue beyond the dreams of Picasso. When I close my eyes I see everything.

  The Lily and

  the Horn

  War is a dinner party.

  My ladies and I have spent the dregs of summer making ready. We have hung garlands of pennyroyal and snowberries in the snug, familiar halls of Laburnum Castle, strained cheese as pure as ice for weeks in the caves and the kitchens, covered any gloomy stone with tapestries or stags’ heads with mistletoe braided through their antlers. We sent away south to the great markets of Mother-of-Millions for new silks and velvets and furs. We have brewed beer as red as October and as black as December, boiled every growing thing down to jams and pickles and jellies, and set aside the best of the young wines and the old brandies. Nor are we proud: I myself scoured the stables and the troughs for all the strange horses to come. When no one could see me, I buried my face in fresh straw just for the heavy gold scent of it. I’ve fought for my husband many times, but each time it is new all over again. The smell of the hay like candied earth, with its bitter ribbons of ergot laced through—that is the smell of my youth, almost gone now, but still knotted to the ends of my hair, the line of my shoulders. When I polish the silver candelabras, I still feel half a child, sitting splay-legged on the floor, playing with my mother’s scorpions, until the happy evening drew down.

  I am the picture of honor. I am the Lily of my House. When last the king came to Laburnum, he told his surly queen: You see, my plum? That is a woman. Lady Cassava looks as though she has grown out of the very stones of this hall. She looked at me with intere
sted eyes, and we had much to discuss later when quieter hours came. This is how I serve my husband’s ambitions and mine: with the points of my vermilion sleeves, stitched with thread of white and violet and tiny milkstones with hearts of green ice. With the net of gold and chalcathinite crystals catching up my hair, jewels from our own stingy mountains, so blue they seem to burn. With the great black pots of the kitchens below my feet, sizzling and hissing like a heart about to burst.

  It took nine great, burly men to roll the ancient feasting table out of the cellars, its legs as thick as wine barrels and carved with the symbols of their house: the unicorn passant and the wild poppy. They were kings once, Lord Calabar’s people. Kings long ago when the world was full of swords, kings in castles of bone, with wives of gold—so they all say. When he sent his man to the Floregilium to ask for me, the Abbess told me to be grateful—not for his fortune (of which there is a castle, half a river, a village and farms, and several chests of pearls fished out of an ocean I shall never see) but for his blood. My children stand near enough from the throne to see its gleam, but they will never have to polish it.

  My children. I was never a prodigy in the marriage bed, but what a workhorse my belly turned out to be! Nine souls I gave to the coffers of House Calabar. Five sons and four daughters, and not a one of them dull or stupid. But the dark is a hungry thing. I lost two boys to plague and a girl to the scrape of a rusted hinge. Six left. My lucky sixpence. While I press lemon oil into the wood of the great table with rags that once were gowns, four of my sweethearts giggle and dart through the forest of legs—men, tables, chairs. The youngest of my black-eyed darlings, Mayapple, hurls herself across the silver-and-beryl checked floor and into my arms, saying:

  “Mummy, Mummy, what shall I wear to the war tonight?”

  She has been at my garden, though she knows better than to explore alone. I brush wisteria pollen from my daughter’s dark hair while she tells me all her troubles. “I want to wear my blue silk frock with the emeralds round the collar, but Dittany says it’s too plain for battle and I shall look like a frog and shame us.”

  “You will wear vermillion and white, just as we all will, my little lionfish, for when the king comes we must all wear the colors of our houses so he can remember all our names. But lucky for you, your white will be ermine and your vermillion will be rubies and you will look nothing at all like a frog.”

  Passiflora, almost a woman herself, as righteous and hard as an antler, straightens her skirts as though she has not been playing at tumble and chase all morning. She looks nothing like me—her hair as red as venom, her eyes the pale blue of moonlit mushrooms. But she will be our fortune, for I have seen no better student of the wifely arts in all my hours. “We oughtn’t to wear ermine,” she sniffs. “Only the king and the queen can, and the deans of the Floregilium, but only at midwinter. Though why a weasel’s skin should signify a king is beyond my mind.”

  My oldest boy, Narcissus, nobly touches his hand to his breast with one hand while he pinches his sister savagely with the other and quotes from the articles of peerage. “‘The House of Calabar may wear a collar of ermine not wider than one and one half inches, in acknowledgement of their honorable descent from Muscanine, the Gardener Queen, who set the world to growing.’”

  But Passiflora knows this. This is how she tests her siblings and teaches them, by putting herself in the wrong over and over. No child can help correcting his sister. They fall over themselves to tell her how stupid she is, and she smiles to herself because they do not think there’s a lesson in it.

  Dittany, my sullen, sour beauty, frowns, which means she wants something. She was born frowning and will die frowning and through all the years between (may they be long) she will scowl at every person until they bend to her will. A girl who never smiles has such power—what men will do to turn up but one corner of her mouth! She already wears her red war-gown and her circlet of cinnabar poppies. They brings out the color in her grimace.

  “Mother,” she glowers, “may I milk the unicorns for the feast?”

  My daughter and I fetch knives and buckets and descend the stairs into the underworld beneath our home. Laburnum Castle is a mushroom lying only half above ground. Her lacy, lovely parts reach up toward the sun, but the better part of her dark body stretches out through the seastone caverns below, vast rooms and chambers and vaults with ceilings more lovely than any painted chapel in Mother-of-Millions, shot through with frescoes and motifs of copper and quartz and sapphire and opal. Down here, the real work of war clangs and thuds and corkscrews toward tonight. Smells as rich as brocade hang in the kitchens like banners, knives flash out of the mist and the shadows.

  I have chosen the menu of our war as carefully as the stones in my hair. All my art has bent upon it. I chose the wines for their color—nearly black, thick and bitter and sharp. I baked the bread to be as sweet as the pudding. The vital thing, as any wife can tell you, is spice. Each dish must taste vibrant, strong, vicious with flavor. Under my eaves they will dine on curried doves, black pepper and peacock marrow soup, blancmange drunk with clove and fiery sumac, sealmeat and fennel pies swimming in garlic and apricots, roast suckling lion in a sauce of brandy, ginger, and pink chilis, and pomegranate cakes soaked in claret.

  I am the perfect hostess. I have poisoned it all.

  This is how I serve my husband, my children, my king, my house: with soup and wine and doves drowned in orange spices. With wine so dark and strong any breath of oleander would vanish in it. With the quills of sunless fish and liqueurs of wasps and serpents hung up from my rafters like bunches of lavender in the fall.

  It’s many years now since a man of position would consider taking a wife who was not a skilled poisoner. They come to the Floregilium as to an orphanage and ask not after the most beautiful, nor the sweetest voice, nor the most virtuous, nor the mildest, but the most deadly. All promising young ladies journey to Brugmansia, where the sea is warm, to receive their education. I remember it more clearly than words spoken but an hour ago—the hundred towers and hundred bridges and hundred gates of the Floregilium, a school and a city and a test, mother to all maidens.

  I passed beneath the Lily Gate when I was but seven—an archway so twisted with flowers no stone peeked through. Daffodils and hyacinths and columbines, foxglove and moonflower, poppy and peony, each one gorgeous and full, each one brilliant and graceful, each one capable of killing a man with root or bulb or leaf or petal. Another child ran on ahead of me. Her hair was longer than mine, and a better shade of black. Hers had blue inside it, flashing like crystals dissolving in a glass of wine. Her laugh was merrier than mine, her eyes a prettier space apart, her height far more promising. Between the two of us, the only advantage I ever had was a richer father. She had a nice enough name, nice enough to hide a pit of debt.

  Once my mother left me to explore her own girlish memories, I followed that other child for an hour, guiltily, longingly, sometimes angrily. Finally, I resolved to give it up, to let her be better than I was if she insisted on it. I raised my arm to lean against a brilliant blue wall and rest—and she appeared as though she had been following me, seizing my hand with the strength of my own father, her grey eyes forbidding.

  “Don’t,” she said.

  Don’t rest? Don’t stop?

  “It’s chalcathite. Rub up against it long enough and it will stop your blood.”

  Her name was Yew. She would be the Horn of her House, as I am the Lily of mine. The Floregilium separates girls into Lilies—those who will boil up death in a sealmeat pie, and Horns—those who will send it fleeing with an emerald knife. The Lily can kill in a hundred thousand fascinating ways, root, leaf, flower, pollen, seed. I can brew a tea of lily that will leave a man breathing and laughing, not knowing in the least that he is poisoned, until he dies choking on disappointment at sixty-seven. The Horn of a unicorn can turn a cup of wine so corrupted it boils and slithers into honey. We spend our childhoods in a dance of sourness and sweetness.

  Ever
ything in Floregilium is a beautiful murder waiting to unfold. The towers and bridges sparkle ultramarine, fuchsia, silvery, seething green, and should a careless girl trail her fingers along the stones, her skin will blister black. The river teems with venomous, striped fish that take two hours to prepare so that they taste of salt and fresh butter and do not burn out the throat, and three hours to prepare so that they will not strangle the eater until she has gone merrily back to her room and put out her candles. Every meal is an examination, every country walk a trial. No more joyful place exists in all the world. I can still feel the summer rain falling through the hot green flowers of the manchineel tree in the north orchard, that twisted, gnomish thing, soaking up the drops, corrupting the water of heaven, and flinging it onto my arms, hissing, hopping, blistering like love.

  It was there, under the sun and moon of the Floregilium, that I read tales of knights and archers, of the days when we fought with swords, with axes and shields, with armor beaten out of steel and grief. Poison was thought cowardice, a woman’s weapon, without honor. I wept. I was seven. It seemed absurd to me, absurd and wasteful and unhappy, for all those thousands to die so that two men could sort out who had the right to shit on what scrap of grass. I shook in the moonlight. I looked out into the Agarica where girls with silvery hair tended fields of mushrooms that wanted harvesting by the half-moon for greatest potency. I imagined peasant boys dying in the frost with nothing in their bellies and no embrace from the lord who sent them to hit some other boy on the head until the lord turned into a king. I felt such loneliness—and such relief, that I lived in a more sensible time, when blood on the frost had been seen for obscenity it was.

  I said a prayer every night, as every girl in the Floregilium did, to Muscanine, the Gardener Queen, who took her throne on the back of a larkspur blossom and never looked back. Muscanine had no royal blood at all. She was an apothecary’s daughter. After the Whistling Plague, such things mattered less. Half of every house, stone or mud or marble, died gasping, their throats closing up so only whines and whistles escaped, and when those awful pipes finally ceased, the low and the middling felt no inclination to start dying all over again so that the lordly could put their names on the ruins of the world. Muscanine could read and write. She drew up new articles of war and when the great and the high would not sign it, they began to choke at their suppers, wheeze at their breakfasts, fall like sudden sighs halfway to their beds. The mind sharpens wonderfully when you cannot trust your tea. And after all, why not? What did arms and strength and the best of all blades matter when the wretched maid could clean a house of heirs in a fortnight?