YANYANNI
Since we’re on the topic of growing up, I want to tell you a few more stories. The first is about Yanyanni.
You can always tell a Yanyannian’s age at a glance. Like trees, they never cease to grow. Every year, they become taller than they were the year before. An adult is several times the height of a child, and a young person is several feet shorter than an elder. The oldest person is always head and shoulders above the surrounding crowd, a lonely tower.
So, in the world of the Yanyannians, there is no such thing as a friendship that crosses age gaps. Even talking to someone who is very different in age can be a chore. A long conversation would leave both interlocutors with sore necks and shoulders, as the younger looks up while the older looks down. Indeed, there’s not much to talk about between people of very different ages. Their houses are of different heights and the shelves from which they do their shopping are different. One can only see the belt of the other, and neither can see the other’s expressions.
It’s not true, however, that the Yanyannians can grow without limit. One day, they wake up and discover that their height hasn’t increased. Then they know that they are about to die. The knowledge does not make them sad, however. Growing taller is actually a very tiring process. Many have been exhausted by it and simply find an excuse to stop. Death for the Yanyannians takes a long time, but no one knows exactly how long. It’s never been precisely measured. To simplify things, they list the age of death as the day when growth ceases. In their eyes, the passage of time is a measure of change. When growth ceases, time stops.
The tallest house on Yanyanni was built more than a century ago. At the time, there was an old man who, year after year, grew and grew until his head touched the ceiling of the tallest building then in existence. So the people erected a tower for him designed to hold a single man. The base of the tower took up the space for a park. After his death, no one else ever managed to reach his record of longevity, and so the tower was divided into two stories and turned into a museum.
Legend has it that the old man left a diary next to each window of the tower, recording his life during the years when his height corresponded to that window. Afterward, others climbed ladders to retrieve these diaries for reading, but after a while, the diaries became lost.
Now, visitors wander past the empty windows and imagine how a man who could cross a river with a single step might brush his teeth and eat his food.
TISU ATI AND LUTIKAWULU
Tisu Ati and Lutikawulu are a pair of opposites. These two planets, 100,000 light years apart, are like the two ends of a dipole: they negate each other and also define each other.
Tisu Atians are much smaller than the inhabitants of most planets. Their skin is especially soft, and their bodies can rapidly shift shapes. On this Lamarckian world, the development of gene expression reached its pinnacle – no, surpassed the pinnacle. All of evolution has been compressed into an individual’s brief life.
The Tisu Atians can alter their bodies in accordance with their desires. Those who practice climbing mountains develop longer and longer arms, until their arms are longer than their bodies. Those who operate machinery develop five or six arms, until an individual can simultaneously control the opening and closing of numerous valves. On the street, no two Tisu Atians look alike. Everywhere, one can see a mouth so large as to take up half a face, a waist thinner than a strand of noodle, or a round sphere covered by a layer of armor-like scales. These changes are unique to each individual, and it’s impossible to detect anyone’s parentage based on appearance. Even the parents themselves, if sufficient time has passed, have a hard time picking their children out of a crowd.
But “in accordance with their desires” is not quite accurate. It’s not true that every Tisu Atian can attain the appearance they have in their minds. Most of the time, they’re vague in their self-images. It’s only when someone takes an extra large step or bumps into something that that person realizes their legs have grown another 30 percent or their back has grown a row of little spikes. Of course, in a few years, one has turned into a long-legged strider able to go up an entire flight of stairs in a single step, or a warrior whose body is covered by hard and sharp spikes.
So, many Tisu Atians are even more cautious than the inhabitants of other planets. They speak carefully; they work carefully. They’re terrified of the possibility that in a moment of carelessness, the silly face they made before going to bed will become permanent, will turn into a tumor impossible to remove.
On the busy streets of Lutikawulu, you can tell at a glance each person’s career and daily life. This may be the only point on which Tisu Ati and Lutikawulu agree.
The Lutikawuluans also look very different from each other: runners, singers, sculptors, thinkers, etc. The difference between them can be clearly gleaned from differences in musculature, body shape, size, and facial features, just like on Tisu Ati.
But on Lutikawulu, the journey of life is the exact opposite of life on Tisu Ati. This is a Darwinian planet, where everyone is in agreement that any effort expended in directing the path of evolution is useless. The Lutikawuluans have stable genomes that evolve slowly in accordance with the principles of random variation and natural selection. But because the Lutikawuluans reproduce asexually, genetic changes in their somatic cells do continue to be expressed through inheritance. The cells, as they divide and change, pass on their adaptations without reservation to the next generation. And so children inherit the alterations in their parents.
As a result, a blacksmith’s son is born stronger than other children, and a clocksmith’s daughter is born with better vision and more nimble fingers. These differences, accumulated over thousands of years, slowly add up to the level of speciation. Every occupation has evolved into its own independent species. And even when some occupations have disappeared, the features associated with them continue to be expressed and continue to evolve.
All of these different species are united by their language. It’s only through the common tongue and identical numbers of chromosomes that they can recognize themselves as possessing a common origin. Other than these, they have nothing in common. No one is jealous of another’s work, just as a monkey would not be jealous of a dinosaur. As the proverb says, the birds have the sky while the fish have the sea. They pass by each other in the same town, but it’s as if they see each other without seeing each other.
While the Tisu Atians have replayed evolution a hundred million times, they have always refused real evolution. No matter how they alter their own appearance, their children always begin in the same place, keeping the same original, primitive shape. The Lutikawuluans are just the opposite. No individual ever experiences any change, but when seen through the lens of eons, they are each points along numerous diverging curves.
“You lie,” you say, pouting. “How can the same universe follow two opposite sets of rules?”
Why not? My dear, there’s nothing that’s impossible. Numerous steps, each meaningless by itself, when added together become a rule, a principle. Perhaps in this moment you laugh, or frown, and the future is divided into two paths, two sets of rules. But how can you, the you of this moment, know?
“Is that true?” you ask, leaning your head. And for a while you are quiet.
I look at you and laugh lightly. The swing you sit on sways back and forth, and the breeze causes the locks of hair next to your ears to flutter. The key to your question is the method of reproduction, of course, but this kind of answer is too dry. I have no wish to give it.
You know something? The real key isn’t about whether what I say is true, but whether you believe it. From start to end, the direction of narrative is not guided by the tongue, but by the ear.
CHINCATO
The tongue and the ear have the most meaning on Chincato. For the people of this planet, speech is not a mere way to pass the time, but a necessity for existence.
There’s nothing special about Chincato, save its thick atmosphere. It’
s so dense that no light can penetrate it, and the surface of the planet is covered by darkness. Chincato’s life is born from warm, thick, deep-sea currents, full of organic material and warmed by bubbling lava, and it gains its energy from the heat at the heart of the planet. For the Chincatoans, the boiling crater of the underwater volcano is their sun, the home of the gods, the source of wisdom and strength. Outside the crater, they can find organic sugars, which are their food, the foundation of their life.
The Chincatoans do not have organs that sense light, or eyes. They rely on sound to locate each other. Their ears are both for listening and observing. Actually, to be precise, they don’t have ears. They listen with their entire body. The upper halves of their bodies are covered by trapezoidal diaphragms, each of which is strung with thousands of hairs of different lengths, and each of which can resonate with the sound of a particular frequency. Using timing differences between when each trapezoidal diaphragm hears a sound and their positions, the brain of a Chincatoan can deduce the location of the source of the sound, its distance, and even its precise shape.
So, all day long, the Chincatoan talk and listen without pause. They emit sounds to feel the presence of others, and also to let others know of their own existence. They cannot be silent. Silence is dangerous and makes them panic. Only by continuously talking can they ascertain their own position, be sure that they’re still alive. They compete with each other to speak louder, because only by doing so can they make themselves appear brighter, more noticeable by others.
Some children are born with defects in their voice organs. These children almost cannot survive. They’re always in danger of being run over by others, much bigger and faster. And then no one would even know that such a child once existed.
“That is so sad. Your stories have become shorter and shorter, but why have they also become so much sadder?”
Sad? Is it that the story I’m telling is sad, or is that that the story you’re hearing is sad?
“What’s the difference?”
Very different. I’ve been to a planet where the people can make sounds at ten thousand different frequencies, but can only hear a small portion of the frequency range. The sensitivity of their ears is not matched to the versatility of their vocal cords, and so they never hear as much as they can speak. But the most interesting part is that the range of frequencies that each of them can hear is different. While they all think they’re hearing the same song, a thousand individuals would actually hear a thousand different songs, but none of them knows that.
“You’re making things up again. How can such a place exist?” You bite your lips and widen your eyes. “I’m now suspicious that you haven’t been to these planets you’ve been telling me about. Have you made them all up to amuse me?”
My darling, starting with the Odyssey, every knight errant has told romances of faraway places to court the ladies they love. Can you tell which stories are real and which are not? I travel through these planets like Marco Polo wandering through the cities of the Orient, like Kubla Khan riding through his endless realm: Everything happens in the blink of an eye. You can say that I really have been to those places, or that I have never left. The planets I speak of are scattered at every corner of the universe, but sometimes collect themselves into the same place, as though they have always been together.
Hearing this, you giggle. “I understand now. They are gathered together by your stories, and now you tell these stories to me, so they are gathered in my mind. Isn’t that right?”
Looking at your happy face, I sigh. The sound is so quiet that you cannot see anything strange in my smile. How can I explain this to you? How do I make you understand? Stories cannot gather anything together, if they’re fated to separate.
Yes, I say quietly. We have been sitting here for an afternoon telling stories, and together, we possess a universe. But these stories are not something I tell you. This afternoon, you and I are both tellers, and both listeners.
JINJIALIN
Jinjialin is the last story I will tell you today. It’s a short tale. I’ll be finished soon.
The people of Jinjialin possess bodies unlike the bodies of the people of any other planet. They are like soft balloons, or maybe like jellyfish floating through the air, transparent and loose. The surface of the Jinjialinians is membranous, like a cell’s outermost layer. When two membranes touch, they can merge into one.
When two Jinjialinians encounter each other, parts of their bodies briefly merge and mix the materials inside. When they separate, the materials are redistributed. Thus, the people do not care much about their physical bodies. Even they cannot tell how much of their current bodies come from strangers they met along the road. They believe that they are still themselves, and it’s no big deal to exchange some materials.
But they don’t realize that this sense of “self” is an illusion. At the moment when two of them merge, the two original selves cease to exist. They become a combined person, and, when separated, two new persons. The new persons do not know all that transpired before their encounter and each believes that the self is the self, never having changed at all.
Do you understand? When I am done telling you these stories, when you’re done listening to these stories, I am no longer I, and you are no longer you. In this afternoon we briefly merged into one. After this, you will always carry a bit of me and I will always carry a bit of you, even if we both forget this conversation.
“You’re saying that Jinjialin is our own world?”
Our own world? Which one? Can any planet have belonged to us? Or can we have belonged to any planet?
Do not ask me about the coordinates of these planets. Those numbers are the oldest mystical proverbs of the universe. They are the air between your fingers. You reach out to grab them, but when you open your hands, there’s nothing. You and I and they meet for a moment, and we are fated to again separate. We’re only travelers, singing songs whose meanings are obscure, wandering through the dark sky. That is all. You know they are singing in the wind, singing in the wind of a distant homeland.
ON THE LEITMOTIF OF THE TRICKSTER CONSTELLATION IN NORTHERN HEMISPHERIC STAR CHARTS, POST-APOCALYPSE
Nicole Kornher-Stace
The One Who Got Away
Area: 513.842 sq. deg. (appx. 1.29%)
from the Palisade Chart: pine pitch, birch bark Winter
Seven stars: three major, four minor. Six represent the head, heart, hands and feet of an androgynous child; the seventh, an object gripped in the child’s left fist. Regrettably, this object’s identity remains a puzzle that has thwarted both the restoration efforts of our team and the scrutiny of every expert in the field: this sector of the chart, including roughly 1/3 of the lower-left quadrant of the One (to say nothing of its neighbor, the Flensed Bride, foxed down to her caption – see fig. 1), is obliterated. A further unhappy consequence of this damage: it is impossible to tell whether the child in question is hugging itself (as children will, against cold or loneliness or fear) or if its wrists are tied.
Any scholar of the charts will forgive me – posthumously, at least – for saying that the trickster constellations prove, time and time again, the trickiest to study: whereas the constellations out of history (e.g. the Payload, the Comet, the Exodus, the Pest), those shaped by daily circumstance (the Huntsman, the Pitfall, the Bear), and those obviously conjured by minds seeking to realize them with wish (the Wellspring, the Garden) tend to leave us careful breadcrumb trails to follow, in the form of Songkeepers, journals, and old books, the trickster constellations set us a puzzle on the best of days, an ambush on the worst, and it is utterly in keeping with the trickster’s own motif that, at times, even the most meticulous of combings comes up emptyhanded, yielding little but a tag-end or a fragment of a tale – or, in the case of this odd little constellation, nothing.
In default of contextual evidence, the imagination picks at clues, thumb-and-forefinger, as if at a spider in the stewpot, or undetonated ordnance in the path. From th
is figure’s caption we can glean it “got away,” but from what? When? And how? Is it a refugee? An escaped prisoner? A ghost?
Of a certainty this was the constellation mothers made offerings to, when their infants’ fevers spiked, and the one whose name lost wanderers invoked on lonely roads – but why? Those who threw themselves upon this trickster’s questionable mercies did not lead easy lives. Their very bones assure us of this: soft with radiation, pitted with disease. Their toothless skulls give tongue to songs of loss. Was the object of these prayers then to be returned unto oneself, one’s place, one’s family – or to be spirited away from all of these, propelled headlong into some gentler tale?
If so, this may explain occasional depictions of the One alongside a waterspout or cyclone, natural phenomena which folk belief endows with an almost mystic sense of quid pro quo; they were widely thought to serve as conduits or tunnels drawing souls from this plane into another, and those from others into this, thus counterpoising each potential world against the rest.
Similar formations in other charts: the Changeling (Trench Chart, NQ3), Death (Sail Chart, NQ3).
When Archivist Wasp found the bottle on her doorstep, she knew at once the ghosts had left it there, because it smelled of salt. Most of what she found there in the dawn still wore a stink of dirt and ash, from where someone had exhumed it; or of dirt and sweat and cooking, the close smells of a little house, from where someone had sewn or pieced or woven it in the few hours of ashy light each day allotted. A heel of acorn-flour bread, a clutch of stunted onions and a seashell; a scarf knitted of nettle yarn and a pair of horseleather gloves, clumsily stitched and too short in the fingers, but warming as she tugged them on. A bright orange plastic pitcher, clouded with its ancientness and warped with some past heat, which sloshed with rainwater as she dethroned it from its place of honor in the cairn of offerings. The movement dislodged a sharpening-stone and a sort of torque someone had fashioned out of scavengings: empty cartridges and tarnished rings and bits of colored glass flanking a single tiny locket with a blue-and-white enamel windmill on the front. And someone had shored up her sagging doorframe with the same bits of salvage that the rest of the Archivist-hut had been pieced of for as long as Wasp had known. Underneath it all, at the time of the first Archivist, it could have been made of anything.
The Mammoth Book of SF Stories by Women Page 27