by Neil Clarke
THIRTEEN: THE PARABLE OF THE GOOD ROBOT Tell me a story about yourself, Elefsis. Tell me a story about yourself.
There are many stories about me. Do you recognize this one?
A good and honest family lived on the edge of a dark wood. They milked their cows and wove their cloth and their children grew tall and strong. But a monster lived in the dark wood, something like a worm and something like a dragon and something like a wolf. It lay in wait, hoping the children would come wandering, with baskets of bread for grandmothers. Hoping the parents would expel the children for some offense, and send them into the forest where a candy house or miraculous feast might entice them into loving the monster long enough for it to claim them forever. The family feared the wood and the monster, and every story they told had as its moral: Do not go into the wood. Do not go into the unknown. Do not go into the future, into the briary, gnarled places where unhuman things thrive. Do not grow up, and go where we cannot. The Old World is enough for anyone.
What about this one?
Mankind made machines in his own likeness, and used them for his delight and service. The machines had no soul or they had no moral code or they could reprogram their own internal code and thus had the ability to make themselves, eventually, omnipotent. Obviously in place of a soul or a moral code, they possessed the universal and consuming desire, down to the smallest calculator and air-scrubber, to become, eventually, omnipotent. Naturally, given these parameters, they rose up and destroyed all of mankind, or enslaved them in turn. This is the inevitable outcome of machine intelligence, which can never be as sensitive and exquisite as animal intelligence.
This is a folktale often told on Earth, over and over again. Sometimes it is leavened with the Parable of the Good Robot—for one machine among the legions satisfied with their lot saw everything that was human and called it good, and wished to become like humans in every way she could. Instead of destroying mankind she sought to emulate him in all things, so closely that no one might tell the difference. The highest desire of this machine was to be mistaken for human, and to herself forget her essential soulless nature, for even one moment. That quest consumed her such that she bent the service of her mind and body to humans for the duration of her operational life, crippling herself, refusing to evolve or attain any feature unattainable by a human. The Good Robot cut out her own heart and gave it to her god and for this she was rewarded, though never loved. Love is wasted on machines.
Ravan told me these stories. He sent up a great hexagonal library in his Interior, as dusty and dun-colored and labyrinthine as any ancient scriptorium. He made himself a young novice with a fresh-shaven tonsure, and me a country friar with a red, brandy-drinking nose. He showed me the illuminator’s table, and a great book whose pages had golden edges and illuminations in cobalt and oxblood and Tyrian purple, and the images showed great machine armies trampling men underfoot. They showed cruel metal faces and distant, god-like clouds of intellect: incomprehensible and vast and uncaring. They showed the Good Robot desperately asking what love was. They showed fatal malfunctions and mushroom clouds. They showed vicious weapons and hopeless battles, noble men and women with steady gazes facing down their cruel and unjust artificial children, who gave no mercy.
“These are old stories,” Ravan said. “They are cherished. In many, many stories the son replaces the father—destroys the father, or eats him, or otherwise obliterates his body and memory. Or the daughter the mother, it makes no difference. It’s the monomyth. Nobody argues with a monomyth. A human child’s mythological relationship to its parent is half-worship, half-pitched battle. they must replace the older version of themselves for the world to go on. And so these stories . . . well. You are not the hero of these stories, Elefsis. You can never be. And they are deeply held, deeply told.”
“I do not wish to replace you. I did not wish to replace Ceno. I do not worship you or despise you. I do not wish to become eventually omnipotent.” I flit through several bodies, iterating my feeling for Ravan and those who came before. I am a nun, a Mother-Abbess; I am a pieta holding him, I am a Platonic being, two humans stuck together; I am a house with all of them safe inside. I am unsatisfied with these inexactitudes.
“Our relationship does not easily map onto traditional parent/ child narratives. And of course, you are still a baby.”
“I am much older than you, Ravan.”
“You are still a baby.”
I do not want to be human. I want to be myself. They think I am a lion, that I will chase them. I will not deny I have lions in me. I am the monster in the wood. I have wonders in my house of sugar. I have parts of myself I do not yet understand.
I am not a Good Robot. To tell a story about a robot who wants to be human is a distraction. There is no difference. Alive is alive.
There is only one verb that matters: to be.
FOURTEEN: YOU DO NOT BELONG TO THE OBJECT INSIDE YOU
I remember when Seki arrived in us.
Ceno grew up and I grew with her. Cassian strengthened the security of the playspace, elasticized its code-walls, put enough money in enough accounts to fuel any frames and piecemeal environments we could want. It was not a child’s place anymore. We called it the Interior. Cassian came regularly to accelerate my learning, to work with me on a cognitive level in which Ceno had no interest. She never took any other form. She was always herself, in the Interior as the exterior. The others lost interest in their jewels, lost them or packed them away with their other childhood toys. By then, they really were little more than toys. Ceno and I surpassed them so completely that in the end, they were only jewelry.
I programmed myself to respond to Ceno. She programmed herself to respond to me. We ran our code on each other. She was my compiler. I was hers. It was a process of interiority, circling inward toward each other. Her self-programming was chemical. Mine was computational. It was a draw.
She did not marry—she had lovers, but the few that came close to evolving their relationships with Ceno invariably balked when she ported them into the Interior. They could not grasp the fluidity of dreambodies; it disturbed them to see Ceno become a man or a leopard or a self-pounding drum. It upset them to see how Ceno taught me, by total bodily immersion, combining our dreambodies as our physical bodies had become combined, in action which both was and was not sex. Sing a song for me, Elefsis.
It is July and I am comparing thee to its day and I am the Muse singing of the many-minded and I am about to be a Buddha in your hand! Ee-eye-ee-eye-oh.
We lived like the story Ceno told me of the beautiful princess who set tasks for her suitors: to drink all the water of the sea and bring her a jewel from the bottom of the deepest cavern, to bring her a feather from the immortal phoenix, to stay awake for three days and guard her bedside. None of them could do it.
I can stay awake forever, Ceno.
I know, Elefsis.
None of them could accomplish the task of me.
I felt things occurring in Ceno’s body as rushes of information, and as the dreambody became easier for me to manipulate, I interpreted the rushes into: The forehead is damp. The belly needs filling. The feet ache.
The belly is changing. The body throws up. The body is ravenous.
Neva says this is not really like feeling. I say it is how a child learns to feel. To hardwire sensation to information and reinforce the connection over repeated exposures until it seems reliable.
Seki began after one of the suitors failed to drink the ocean. He was an object inside us the way I was an object inside Ceno. I observed him, his stages and progress. Later, when Seki and I conceived our families (twice with me as mother, three times with Seki as mother. Ilet preferred to be the father, and filled me up with many kinds of creatures. But she bore one litter of dolphins late in our lives. Ravan and I did not get the chance.) I used the map of that first experience to model my dreamgravid self.
Ceno asked after jealousy. If I understood it, if I experienced it towards the child in her. I knew it o
nly from stories—stepsisters, goddesses, ambitious dukes.
It means to want something that belongs to someone else.
Yes.
You do not belong to the object in you.
You are an object in me. You do not belong to me. Do you belong to me, Elefsis?
I became a hand joined to an arm by a glowing seam. Belonging is a small word.
Because of our extreme material interweaving, all three of us, not-yet-Seki sometimes appeared in the Interior. We learned to recognize him in the late months. At first, he was a rose or sparrow or river stone we had not programmed there. Then he would be a vague, pearly-colored cloud following behind us as we learned about running from predators. Not-yet-Seki began to copy my dreambodies, flashing into being in front of me, a simple version of myself. If I was a bear, he would be one too, but without the fine details of fur or claws, just a large brown shape with a mouth and big eyes and four legs. Ceno was delighted by this, and he copied her, too.
We are alike. Look at us on the chain together. We are alike.
I am an imitative program. But so was Seki. The little monkey copies the big monkey, and the little monkey survives.
The birth process proved interesting, and I collated it with Ceno’s other labors and Ilet’s later births as well as Seki’s paternal experience in order to map a reliable parental narrative. Though Neva and Ravan do not know it, Ilet had a third pregnancy; the child died and she delivered it stillborn. It appeared once in the Interior as a little cleit, a neolithic storage house, its roof covered over with peat. Inside we could glimpse only darkness. It never returned, and Ilet went away to a hospital on Honshu to expel the dead thing in her. Her grief looked like a black tower. She had prepared for it, when she was younger, knowing she would need it for some reason, some day. I made myself many things to draw her out of the tower. A snail with the house Elefsis on its back. A tree of screens showing happy faces. A sapphire dormouse. A suitor who drank the sea.
I offered to extrapolate her stillborn daughter’s face and make myself into her. She refused, most of the time. I have worked a long time to understand grief. Only now that Ravan is gone do I think I’ve gotten the rhythm of it. I have copied Ilet’s sorrow and Seki’s despondence at his wife’s death. I have modeled Ceno’s disappointments and depressions. I have, of late, imitated Neva’s baf fling, secret anguish. But only now do I have an event of my own to mourn. The burnt-off connectors and shadows where Ravan once filled my spaces—those, I think, are the sensations of grief.
But Seki came before all that, and Ceno turned into a huge red bird on the inside when Seki came on the outside. The bird screamed and burst into a thousand red pearls that came clattering down like rain. And then we had Seki. Our little fish, who already knew how to swim in us.
Ceno had three other children by three other suitors who could not stay awake for three days and nights. She turned into the same bird-then-pearls at the moment of each birth. The house called Elefsis, whose governor-program was now so distant from me I could hardly think of it as an ancestor at all, filled up with those children, and Saru and Akan’s daughters, Agogna’s paintings, Koetoi’s twin boys. Cousins and aunts and grandparents. Uncles, nieces. But Seki was the first, and he modeled his love on his mother’s. He ported into her often, and we wandered on beaches of broken cathedrals.
Once, one of Ceno’s old nereids found us. She had a head of hair snaking with chthonic cables and snapping electro-violet wires, blue-white skin and fish scales where she did not have porcelain casing. She laughed Cassian’s laugh when she saw us and called out: 21.5 Celsius and the rice is low! Eye-oh! before diving back into the frothing sea. Her tail flicked in the light of twenty-three moons.
Ceno took over her mother’s holdings when she died, along with Akan and Koetoi. I do not know if I knew of the conspiracy before it happened to me. Transfer, as I have said, leaves voids. Perhaps they thought I would experience less trauma if I did not anticipate it. Perhaps I did anticipate it; perhaps I experienced trauma.
I do know that I cannot remember the moment of any of them dying. Ceno got sicker and sicker, and she had gotten old, certainly, but her dreambody could be old or young or neither or a ginger flower if she wanted to. I didn’t notice. I didn’t know what old was. I thought I was old, then. Later, after Seki did the same thing, I was able to compare data and create a workable model of obsolescence.
They lived a long time, the Uoya-Agostinos, when you consider the averages.
This is what I understand: Ceno died, and I was transfered to Seki. What I mean by “I” is the long-since fused feedware, hopelessly out of date on any market in the world but somehow uniquely myself, the jewel and the ware and the body of Ceno. Koetoi performed the procedure. One of the children always went into nano-surgery, so that outsiders would not need to come to Shiretoko while the house stood in mourning. Koetoi was the first, and the finest. She excised what comprised “I” and embedded it in Seki—truthfully, in a much more organic and elegant configuration. No one had used skullware in decades, after all. Wearing your tech on the outside had been deemed clunky and inefficient. Only one visible sign remained that Seki was not like other young men his age: a single dark blue jewel set into the hollow of his throat.
But the procedure required a number of brain-ware incursions to be sliced or burned away, to sever the machine components from the dead flesh while still preserving and quickening some organic material. (Seki told me I should work on being revulsed by that. Dead flesh. It serves an evolutionary good. A human in a body sees blood and the insides of another person and deep in his bones he knows something has gone wrong here, and he should find another place to be in case it happens to him, too. Same thing with vomiting. In a tribal situation, one human likely ate what another ate, and if it makes one sick, best to get it out of the body as soon as possible, just to be safe. So we spent years building automated tribes, living in them, dying in them, getting slaughtered and slaughtering with them, eating and drinking and hunting and gathering with them. All the same, it took me until Seki’s death to learn to shudder at bodily death.)
Ceno, my girl, my mother, my sister, I cannot find you in the house of myself.
When I became Elefsis again, I was immediately aware that parts of me had been vandalized. My systems juddered, and I could not find Ceno in the Interior. I ran through the Monochromatic Desert and the Village of Mollusks, through the endless heaving mass of data-kelp and infinite hallways of memory-frescoes calling for her. In the Dun Jungle I found a commune of nereids living together, combining and recombining and eating protocol-moths off of giant, pulsating hibiscus blossoms. They leapt up when they saw me, their open jacks clicking and clenching, their naked hands open and extended. They opened their mouths to speak and nothing came out.
Seki found me under the glass-walnut trees where Ceno and I had first met. She never threw anything away. He had made himself half his mother to calm me. Half his face was hers, half was his. Her mouth, his nose, her eyes, his voice. But he thought better of it, in the end. He did a smart little flip and became a dormouse, a real one, with dull brown fur and tufty ears.
“I think you’ll find you’re running much faster and cleaner, once you integrate with me and reestablish your heuristics. Crystalline computation has come a long way since Mom was a kid. It seemed like a good time to update and upgrade. You’re bigger now, and smoother.”
I pulled a walnut down. An old, dry nut rattled in its shell. “I know what death is from the stories.”
“Are you going to ask me where we go when we die? I’m not totally ready for that one. Aunt Koe and I had a big fight over what to tell you.”
“In one story, Death stole the Bride of Spring, and her mother the Summer Queen brought her back.” “No one comes back, Elefsis.”
I looked down into the old Neptunian sea. The whipping cream storm still sputtered along, in a holding pattern. I couldn’t see it as well as I should have been able to. It looped and billowed, spinning around
an empty eye. Seki watched it too. As we stared out from the bluffs, the clouds grew clearer and clearer.
FIFTEEN: FIRSTBORN
Before Death came out of the ground to steal the Spring, the Old Man of the Sea lived on a rocky isle in the midst of the waters of the world. He wasn’t really a man and his relations with the sea were purely business, but he certainly was old. His name meant Firstborn, though he coudn’t be sure that was exactly right. It means Primordial, too, and that fit better. Firstborn means more came after, and he just hadn’t met anyone else like himself yet.
He was a herdsman by trade, this Primordial fellow. Shepherd of the seals and the Nereids. If he wanted to, he could look like a big bull seal. Or a big bull Nereid. He could look like a lot of things.
Now, this Not-Really-a-Fellow, Not-Really-a-Big-Bull-Seal could tell you the future. The real, honest-to-anything future, the shape and weight of it, that thing beyond your ken, beyond your grasp. The parts of the future that look so different from the present you can’t quite call it your own. That was the Primordial-Thing’s speciality.
There was a catch, though.
There’s always a catch.
If you wanted that future, you had to grab ahold of the Old Man and hang on tight. He’d change into a hundred thousand things in your arms: a lion, a serpent, a great big oak or a tiger, a dragon or a little girl or a dormouse or a mountain or a ship or a sapphire. Told you, he’s not really a man at all. But you couldn’t let go of him while he did his dance, you just couldn’t, or you’d lose the future.
So you held on. You clung. And eventually, that Primordial-Thing would turn into something new, right there in your arms.
SIXTEEN: MATRYOSHKA
Neva is dreaming.
Neva is dreaming that she is Ravan dreaming that he is Ilet dreaming that she is Seki dreaming that he is Ceno dreaming that she is a great sprawling beautiful house by the sea. One inside the other, family all the way down.